“Will Bartolo, Rae Colquhoun-Fairweather, and James Tarbotton have crafted a performance that champions the power of play and reminds us of the value of light-heartedness in our often too-serious world.
This year’s Packers Prize goes to these talented artists, who offer us a salve for modern times, with a sprinkle of absurdity and a whole lot of heart.“
Fiona Hallenan-Barker
3.5 rolls of packing tape out of 5 
Flow Studios
Sydney
13th-15th February,
In a world that often demands seriousness and order, Masterpiece is a refreshing breath of goofiness and chaos. Flow Studios (a rare gem in the inner west, with an indie, Melbourne-esque vibe) plays host to this joyful, absurd exploration of art, audience interaction, and physical comedy.
As the show begins, the curtain lifts (or in this case, the roller doors) to reveal two pairs of quivering legs on a steamy summer night beneath a giant bubble-wrapped artwork. From this moment, we know we are in for a fun, irreverent production. Will Bartolo (straight out of a Jacques Tati film with impeccable timing and precision in his farcical buffoonery) and Rae Colquhoun-Fairweather (whose clowning is tender and vulnerable) set the tone, attempting the impossible task of hanging the titular “Masterpiece” before a live audience. The entire piece takes on a playful tension, as they navigate the challenges of the space, the artwork, and the audience’s eager gaze. The studio’s cavernous space has the industrial edge of a repurposed warehouse and provides the perfect backdrop for this energetic and unpredictable performance.
What stands out in this show is how generously Will and Rae engage with the audience. Their physicality and impeccable comedic timing draw us in, making even the front-row seats feel safe which is a rarity in participatory theatre. The audience are gently invited to listen, laugh, and respond, with small gestures like clapping and eye contact fostering a sense of collective involvement.
James Tarbotton’s contribution as the deadpan musician and art exhibit adds a sublime layer to the fun. His Ben-Folds-meets-Peter-from-Play-School performance is outstanding and his clever underscoring of the entire piece feels like a perfect, non-reactive counterbalance to the chaos unfolding on stage. At the heart of the show lies the abstract artwork, metaphorically and literally swaddled in sprawling rolls of bubble wrap. Though it never quite reaches its satisfying popping potential, the bubble wrap tension remains alongside innumerable props and art hanging detritus that ends up strewn across the stage. The precious artwork serves as both a literal and figurative representation of the show’s playful tone – a promise of seriousness that remains just out of reach.
As the piece takes a dive into absurdism towards its conclusion, the energy dips, and a moment of meta-theatre breaks the spell with five spoken words. This shift, though slightly jarring, elicits a small but knowing laugh from the audience. With only five words spoken throughout the entire performance, the minimalism of breath, sound and music adds to the absurd charm.
As we exit through the gift shop (where tiny hand painted masterpieces are available for purchase) we are reminded that the art of fun and silliness is not just for children. Will Bartolo, Rae Colquhoun-Fairweather, and James Tarbotton have crafted a performance that champions the power of play and reminds us of the value of light-heartedness in our often too-serious world.
This year’s Packers Prize goes to these talented artists, who offer us a salve for modern times, with a sprinkle of absurdity and a whole lot of heart.
Fiona Hallenan-Barker, Theatre Now
