Shadows, puppets and a goldfish: The unusual play tackling a very big question

THEATRE | ASIA TOPA
Goldfish ★★★★★
Arts House, until March 1

It is a time of crisis, and it has been for some time. The threat of natural disaster looms as global warming increases – reports have estimated that the oldest and thickest ice in the Arctic has declined by a 95 per cent over the last 30 years. We see the encroaching danger of climate disaster through strange weather patterns, and as sea levels rise.

The question remains: can art respond to ecological crisis? One answer might come through Terrapin, a Tasmanian puppet company which has been shining a spotlight on significant questions for more than 40 years. Previous shows have explored power and greed, the search for belonging, and environmental conservation.

Now, Terrapin returns with Goldfish, an unconventional new show co-created with Japan’s Aichi Prefectural Art Theater. Goldfish opens with shadow puppetry, and performer Mayu Iwasaki begins by telling an energetic story of a mountain town that is soon enveloped by a flood, something which Iwasaki narrates with verve.

Not long after, however, the show is abruptly interrupted by two disaster recovery workers (played by Marcus McKenzie and Rino Daidoji) who insist that there is a real flood happening in the world outside the theatre. As fact and fiction suddenly blur, a new story emerges. This time, as McKenzie and Daidoji busy themselves around her, Iwasaki uses the materials of disaster recovery (a tarpaulin, ladder, rope, emergency food stores) to continue her story.

Often filled with pleasant surprises, the storytelling in Goldfish is multifaceted, blending physical theatre with ingenious puppetry. Iwasaki’s storytelling is particularly noteworthy, her superb narration taking centre stage amidst the minimal set design. The trio’s movements too, are fluid and evocative, creating an immersive experience that pulls in even the most detached sceptic.

While there are many moments of tenderness and playfulness through slapstick humour, there is also a shadow of loss and despair that pervades the show, a delicate balance deployed to great effect. And the puppetry is masterful: simple materials and everyday objects are used to breathe life into the inanimate, and where inventive uses of reflected light and shadow create an awe-inducing atmosphere.

Despite its playfulness however – and this is Terrapin’s unique strength, as a puppet company that is well-known for its intergenerational shows – Goldfish is not just a show for children. It’s a reminder that even in the aftermath of destruction, there’s still hope – and sometimes, it comes in the most unexpected forms.
Reviewed by Cher Tan