Presented by Stoneraven Theatre, and directed by Katherine Poulsen, this is the Australian premiere of Martin McDonagh’s 2018 play.
The world-famous Danish writer Hans Christian Andersen keeps a “pygmy” in a box in his attic. This imprisoned Congolese woman – who he calls “Marjory” – writes all his stories, classics such as The Little Mermaid, Thumbelina and The Little Match Girl. Meanwhile, in England, Charles Dickens keeps the sister of this Congolese woman captive – in the same manner, and for a similar purpose.
Troubling Andersen are visitations by two Belgians, men responsible for some of the soul-shattering horrors that colonialism inflicted on the Congo. These visitations are vexing because the Belgians are blood-soaked, and because their crimes weren’t committed until after Andersen was dead (The second of these reasons is only vexing because Andersen is yet to fully accept the possibility of time travel.)
More astute readers might have gathered by now that A Very, Very, Very Dark Matter is not an example of realism.
Rather, it’s a very dark comedy, spiked with absurdism. The target is exploitation, the method mad hilarity.
John Michael Narres’ portrait of Andersen, self-obsessed and pedantic, is very funny. Suzan Mutesi as “Marjory” is a wonderful foil to Andersen’s pettiness, pitching her performance in the key of bewildered dignity.
As the Belgians, Jayden Shelley and Simon Lee carry off with aplomb the tricky task of presenting war criminals as amusing goofs.
Sometimes, the production could do with a sharper pace, and the vocal work with more attention, but still this is a fascinating opportunity to enjoy a rarity from a master comic dramatist.
Paul Gilchrist
A Very, Very, Very Dark Matter by Martin McDonagh
presented by Stoneraven Theatre
at Flight Path Theatre until Aug 1
Image by Treeoak Media
Theatre Red 
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