The rumours are true. Walt Disney is back! Hilarious and thought-provoking, Disney Off Ice expands on the infamous theory of Walt Disney's freezing, imagining what the man himself would think about the world today. An absurd critique of art, culture, capitalism and celebrity.

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My Notes:

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This is a play that I have been developing with Oliver Gough through the Telescope New Writing Program by Observatory Theatre. When Oliver first pitched the idea for the show, I jumped on it straight away. I thought to myself, I have never really heard anything like it before, let alone seen anything like it on stage.

What gripped me about the concept was how Oliver took a well-known public figure, one who is loaded culturally and politically (all of the ‘ally’s really) and exploded a myriad of ideas, questions and debates about the future we are heading into as a society. It truly has been a fascinating journey. Dramatic material doesn’t get much richer and unnervingly relevant as this, I think.

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As mentioned, the play is about many things, but something that really stood out to myself, the cast and creatives were the references to the cost of living crisis. In this late capitalist world of the play where everything can be commodified (even yourself), the gap between the wealthy and the working classes is exponentially larger. Those who are influential and successful can afford to freeze their body, be revived when they wish, and essentially live forever, while those who have not been given the opportunity are left behind. As Oliver puts it, “The cycle continues”. Of course, the parallels with our world today are not hard to place. The status quo - a festering and frankly disturbing system - needs to change and cannot go on like it is. That’s what this play presents to us, a frightening reality of what it might mean to live, breathe, exist in such a twisted, warped world.

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Thanks to Oliver for our work over the past few years and writing this ripper story. Thanks to everyone who encountered the play in development and for their feedback and laughter. I’m proud of the journey it has been on and the iterations it has gone through to make it to tonight.

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Playwright: Oliver Gough

Director & Designer: Lachlan Driscoll

Assistant Director & Costume Designer: Rebecca Day

Lighting & Sound Design: Noah Milne

Projection Design: Lachlan Driscoll & Noah Milne

Voice & Text Coach: Imogen Meehan

Fight Director: Jason McKell

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Cast: Chris Kellett, Rebekah Schmidt, Ophelia Novak, Audrey Allen-Moore, Lachlan McGeary, Beau Doyle​, Natasha McDonald

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Reviews:

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"While Walt himself can’t or won’t draw, Driscoll’s stage and Rebecca Day’s costume design, presents a progression of primary colours as Driscoll’s capable direction takes us through the story’s consideration of a legacy as well as the concept in and of itself. Projections feature throughout, often in conveyance of the torment of Walt’s stylised visions of his now bastardised work… for just as pop may eat itself, so too might pop culture and the consumerism that propels it....Gough’s script is a lexical rich one, full of evocation and antithesis in its dense dialogue. Indeed, for all of its absurdity, this is an interesting play in its creation of a futuristic hypothetical imagining, with a touch of the apocalyptic to the bigger-picture unfold of its scenario. With themes circling around the cult of celebrity and the separation of art and artist, it is a multi-layered story, with particular tap into the recent turn from individually curated entertainment to a Covid-isolation driven nostalgic desire for shared experiences. And in Observatory Theatre’s hands, the inventive new work is not only entertaining but inspiring to the imagination." Meredith Walker, Blue Curtains Brisbane

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"This first season of the show is taking place at Studio 1 in Yeerongpilly, a dance studio/intimate black box space, which worked really well for this show. I hadn’t previously been in this space set up in this way, and it was really nice and is a great option for small plays... In addition to the six actors and a simple set consisting mostly of tables, chairs and doorframes, there was a large projection screen that was used to great effect. Silhouettes were used effectively to comedically portray the reanimation process of Disney at the beginning of the play. Pre-recorded videos of the actors' faces were later projected on screen during moments of tension while the actrs were performing live in front of the projections, This was a really impactful stylist choice for the work, which heightened the performances of the actors. Disney Off Ice is an original new work that will capture the attention of audiences with interest in dystopian worlds and a hatred of capitalism and nostalgic cultishness." Darcie Rae, Nothing Ever Happens in Brisbane

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​"The show’s midpoint, marked by a scene change set to upbeat music as Disney does a little dancey-dance, is a brilliant piece of staging. The portrayal of Disney as outdated, unable to appease anyone in a world that demands constant performance, feels eerily prescient, particularly as we witness his fall from grace the moment Steve Jobs is defrosted and becomes the new focal point. As Disney is tormented by hallucinations of his own creations—the Cheshire Cat, Disneyland tourists, Peter Pan—we see the ultimate irony of his situation. We witness Walt’s desperation for a magical escape from his struggles. And he gets it. Being 'frozen' once again, this time by none other than Elsa, is a poignant metaphor for seeking solace in the familiar amidst an overwhelmingly harsh reality...In a world where everything is commodified and even our icons can be bought and sold, Disney Off Ice serves as a cautionary reminder of the dangers of unchecked capitalism and the fragility of artistic integrity. As the play suggests, we may already be living in the surreal future it depicts—and that’s perhaps the most chilling thought of all. This play is 90 minutes of controlled chaos that challenges our perceptions of legacy, entertainment, commerce, and morality, all while making us laugh at the absurdity of it all. With the standout performances, sharp writing, and a concept that feels all too relevant, Observatory Theatre’s latest production is a must-see for anyone who enjoys theatre that makes you think—and maybe squirm a little in your seat." Samantha Hancock, Stage Buzz Brisbane

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