Polygraph

by Robert Lepage and Marie Brassard

Directed by Tanya Gerstle

Theatre Works

Melbourne, AU

 

Photo by Pier Carthew
Photo by Pier Carthew

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Photo by Pier Carthew
Photo by Pier Carthew

press to zoom
Photo by Pier Carthew
Photo by Pier Carthew

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Photo by Pier Carthew
Photo by Pier Carthew

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1/7

ArtsHub

Stage Noise

It doesn’t ask to be liked but demands to be watched…delivers moments you can feel and performers willing to hold nothing back… gorgeous choreography and at times recklessly physical performance.

Raphael Solarsh, ArtsHub

Polygraph is everything you expect from this company and more. The production is complete… It is physical, it is tender and it is brutal.

Diana Simmonds, Stage Noise

It’s superlative, shapeshifting acting…. in this sensuous, refined, and memorable production.

Chris Boyd, The Australian

Polygraph was first produced in French in Quebec in 1988.The play was developed through improvisation by actors Robert Lepage, Marie Brassard and Pierre Phillippe, based on real events. It was later translated into English for a 1989 production at the Almeida Theatre in London. The following year, the play became bilingual and toured across Europe, to New York and to the Adelaide Festival. In 1996 it was translated
into Japanese by Kazuko Matsuoka and played in Tokyo with a Japanese cast. A film version was released the same year directed by Lepage.

Director's Perspective

Taking this Robert Lepage and Marie Brassard script, complete with descriptions of the realized production that was design focused and technologically complex, and transforming it through our actor-centred process, was a daunting task. So as always we began with an empty space, limitation of means and three performers who are not only fine interpretive actors but also extraordinary physical composers. Creating a performance language for Polygraph’s constantly shifting political and personal perspectives was a challenge. What emerged was a brutal, yet at times tender, physical ‘world’ unearthed by the imaginative collision each actor had with his or her characters’ ‘inner life’ and their public persona.

As a theatrical artist I am always looking for a way to use theatre’s potential to represent consciousness - memories, feelings and sensations in expressionistic form. I want an audience to experience what drives a character to act by visually fusing reality and personal perception. Polygraph lives somewhere in the liminal space between the world we inhabit and the one we experience.

Artistic Team
Director Tanya Gerstle
Performers
Grant Cartwright, Emily Thomas, Lachlan Woods

Producer Loraine Little

Voice and Dialect Coach Geraldine Cook

Set Design Jelle Jager & Betty Auhl

Costume & Prop Design Betty Auhl

Sound Design Matt Furlani & Julian Dibley-Hall

Original Sound Composition Matt Furlani

Lighting Design Jason Crick
Production Management & Operation Olivia Clark

Rehearsal & Process Associate Grant Cartwright

Directorial Associates Romi Kupfer & Julian Dibley-Hall

Voice & Dialect Associate Matt Furlani

Design Associate Betty Auhl

International Marketing Associate Madisyn Fairchild