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(VEHICLE BEEPS)
(BACKGROUND CHATTER)
I love construction sites.
I think there's something quite theatrical about the composition
and, in a way, it's like a choreographed piece,
everyone's got a job,
but particularly with the big machines,
there's just something quite epic and grounded.
I started looking into forklifts.
Theatrically, they're amazing because they can go very high,
they can turn around, they can drive.
It's like a little moving stage.
(HAUNTING MUSIC)
In terms of the forklift, it's this sense of this beautiful transformation,
transforming the perception of what a forklift can do.
It does feel a bit like we've tamed an animal in the show.
You know, we treat it with great respect
and we kind of endow it as another performer.
There's something also about how the performers are transformed
from this kind of very monochromatic look,
and even the outlook on life.
These two women transform this other woman
and, you know, they kind of join together in a way,
and then the whole set turns around
into this beautiful high-vis fluoro colour.
The performers kind of come to life,
and the humanity and the metal, um, contrast each other
but in a very kind of beautiful, complementary way.
I was looking for a work to make with just women
that could look at women being strong but also beautiful.
It kind of sits in this realm of fantasy.
It's got that kind of inexplicable beauty.
The fragility between the three women performing together and the tenderness,
and, in a way, the machine becomes actually quite soft,
and the way they manipulate it rather than it manipulating them.
I'm interested in making joyful work.
You know, in every work there always has to be a sense of humour
and a kind of lightness and a sense of irreverence.
And it's incredibly fun driving a forklift on stage.
It's really challenging but quite exciting,
just because it's completely out of our comfort zone.
The way our cast work, it's very particular.
These three performers, incredibly multi-skilled, they're great performers,
but they also have really interesting physical characteristics,
a mixture of contortion, hand-balancing, dance.
It has created a really nice movement vocabulary
because it's new, because all the bodies are new together.
I think emotion can be read physically incredibly easily,
and I just haven't seen a lot of, um,
performance work where words have moved me necessarily more than physicality.
I think there's something incredibly raw,
and when you see bodies together I think it's very confronting,
and when it's done well,
the story can be just beautifully, accurately told.