Savages Theatre Review
· outdoors
The Dark Waters of Misogyny and the Power of Cross-Gendered Performance
Patricia Cornelius’ play Savages has been making waves in Melbourne’s theatre scene since its 2013 premiere at fortyfivedownstairs. Its latest iteration, featuring a female-identifying and nonbinary cast, brings a new level of depth and nuance to this exploration of misogyny and masculinity.
Cross-gendered performance is not a new phenomenon; it has been a staple of theatre since the Elizabethan stage, where male actors played female roles. Modern-day productions like Trophy Boys have also subverted traditional notions of masculinity, demonstrating that this art form has long been a site for examining and challenging patriarchal culture. Cornelius’ play expertly weaves together banter, bullying, and hard truths to create a scathing critique of misogyny.
The production, led by Kitan Petkovski, defies expectations from the start. The actors do not attempt to masquerade as men but instead embrace their feminine personas with deliberate intentionality. This choice sets the tone for a play that refuses to shy away from confronting the darker aspects of masculinity. As the characters’ true nature is slowly revealed, the audience is left stunned by the raw emotion and unflinching portrayal of hardcore misogyny.
The performances are standout, with Zoe Boesen, AYA, Laila Thaker, and Nicci Wilks bringing a level of nuance and complexity to their roles. They subvert stereotype and refuse the easy option of caricature, revealing the psychology underlying performative masculinity.
Cornelius’ use of choric structure is masterful, handling the disjunction between how these men privately think and feel, and how they behave when their mates are watching. This manipulation of emotional tone creates a paradoxical authenticity that feels both heartbreaking and infuriating at the same time.
Cross-gendered performance has become an increasingly popular choice for productions like Savages. By embracing this art form, theatres can tap into a deeper level of emotional resonance and social commentary. The actors’ transitions from their feminine personas to their masculine selves highlight the ways in which this kind of performance can be used to challenge societal norms.
The success of Savages raises questions about the future of theatre: Will we see more productions embracing cross-gendered performance as a way to tackle complex social issues like misogyny and masculinity? How will this trend impact the way we consume and engage with live performances?
Live theatre has long been a powerful tool for sparking conversations about social issues. Savages, in particular, creates moments of collective catharsis, leaving the audience stunned into silence by its piercing critique of misogyny and its devastating consequences.
In contrast to Savages, Two Blood, another recent production at Melbourne’s theatres, struggles to find its footing. Despite its talented cast and crew, this dance drama fails to deliver a cohesive or impactful experience, with an underdeveloped narrative that meanders without resolution.
The importance of considering the ways in which our performances can be used to challenge societal norms is clear. Live theatre has long been a powerful tool for sparking conversations about social issues, but it’s evident that we need more productions like Savages – ones that are brave enough to confront the darker aspects of human nature.
As I left the theatre after watching Savages, I couldn’t help but feel unease at the world outside. The play may be fictional, but its portrayal of misogyny and masculinity feels all too real. It’s in this discomfort that we find the power of theatre – to make us see ourselves and our world in a new light.
Reader Views
- MTMarko T. · expedition guide
While Patricia Cornelius' play Savages shines a necessary light on the toxic underbelly of masculinity, I'd love to see more nuance in its portrayal of female characters. By centering the narrative around men's experiences and emotions, we risk reinforcing the notion that their struggles are inherently more complex or deserving of attention. A more balanced approach would allow us to better understand the interconnectedness of patriarchal cultures and the ways in which women internalize and perpetuate misogyny. The production still succeeds in sparking important conversations, but further exploration of this aspect could elevate its impact even more.
- JHJess H. · thru-hiker
The way Savages confronts misogyny is nothing short of searing, but what struck me as particularly insightful was how Cornelius' choric structure reflects the fragmentation of masculinity in our culture. The play's use of male-identifying actors embracing their femininity could be seen as a commentary on the artificial nature of masculinity itself – that it's a performative construct, not an inherent identity. This mirrors the societal pressure for men to conform to traditional notions of masculinity, and how this can lead to inner turmoil and aggression.
- TTThe Trail Desk · editorial
While Patricia Cornelius' play Savages is undeniably a searing critique of misogyny, one can't help but wonder about its potential impact on men who don't identify as toxic masculinity incarnate. Will this production's confrontational approach lead to genuine introspection and change among the audience members most in need of it? Or will the unflinching portrayal of hardcore misogyny merely alienate them further? As our society grapples with toxic masculinity, plays like Savages must be careful not to push away the very individuals who need to engage with its message.