“A frenetic, gleeful quest for fun.”
Kate Stratford
[“Nat 20”]
Venue The Studio Sydney Opera House
Sydney
Dates 15 Dec 2024 – 8 Mar 2025
Review
Unless you are Rip Van Winkle, there could not be an excuse for never having heard of Dungeons & Dragons (hereafter D&D). Starting as a tabletop fantasy role playing game in the 1970s, it is now a cultural phenomenon with tens of millions of players worldwide, both as a tabletop game and online. The ancient premise – of storytelling and questing, appeals in its limitless offer of safe adventure participation.
D&D’s history is as long and tortuous as the game itself and its ability to connect people globally has led to a massive revival in recent years. The evidence of this is in the creation of the interactive Dungeons & Dragons The Twenty-Sided Tavern, now playing over summer at the Studio in the Opera House. Performative D&D is nothing too new but this level of audience participation just might be. As an alert, I am not a player myself but took a Dungeon Master with me to fill in any gaps in my scant knowledge.
In every game there must be a Dungeon Master (DM). The DM assumes the role of the game master or referee and describes for other players what they perceive in the imaginary world of the game, and what effects their actions have. William Kasper is the DM charged with keeping this chaotic adventure on track and on time whilst playing several non-player roles as well. Once or twice I lost track of the story but was reassured by the DM with me that the most experienced players sometimes do too. Each time, DM Kaspar pulled all the threads together and we continued on our quest. Alongside, Tavern Keeper Zoë Harlen, kept scores and stood ready to assist in shaping the world of The Twenty-Sided Tavern.
The rest of the crew included Warrior Atlas Adams, Spellcaster Eleanor Stankiewicz and Trickster Trubie-Dylan Smith. Each was allocated a third of the audience to vote on their key decisions using a QR code app. Results are projected onto a screen for all. Their controlling viewers are also sent various games, including fast-tap challenges, to lend their character support at pivotal moments. The adventure demands each player learn three possible variations of their role. Every ensemble member must have exceptional improv skills, acting ability, focus and energy to make it work. Because the audience is continually voting on choices via the App, the cast has to go with those choices. As you might imagine, the possibilities for story playout become numerous and something that cannot be rehearsed. That no two shows are ever the same is a core promise. This cast never flagged, lacing their performances with wit, joy and no small amount of physicality. Particularly notable were Stankiewicz’s ability to walk like a skeleton and Adams’ movement as two halflings presenting as one human. You had to be there.
The Studio at the Opera House has been transformed by the exceptional projection design and lighting. The audience were completely immersed in the world of the Twenty-Sided Tavern and their enthusiasm was warm, supportive and often loud. A few “natural 20s” rolled lead to fellow theatregoers jumping up and cheering; encouraging shouting from the audience became par for the course and quite heartwarming at times.
If there is a caveat, it is that the show is PG rated (assuming, since there were definitely kids there) and that at times some dialogue/ action may be slightly inappropriate for that age group. So be warned, or warn your kids if taking them.
You don’t have to be a D&D aficionado to enjoy the evening and who knows, you just may find a world of adventure and camaraderie worthy of escaping to now and again. You don’t have to be a nerd to get it.
(The Twenty-Sided tavern, by the way for those who don’t know, refers to the twenty-sided die each player rolls)
A frenetic, gleeful quest for fun. My plus one DM declared it a Nat 20.
PS. Food at the immediately adjacent Midden is rather good too.
Photos by Daniel Boud
Kate Stratford, Theatre Now
