In a dystopian era and taking the form of a sewer, unfolds the brutally honest and triggering perceptions of societal expectations we burden and limit ourselves with. In Gecko Theatre’s The Wedding, we are exposed to the realisation and reality of all being lawfully wedded to social constructs, and obliviously accepting this as the quintessential way of living, without query.
The physical ensemble of storytellers individually transition on a one-way journey into this insufferable world, which we only ever see as “the norm”, through a sewage pipe that closely resembles a slide of a child’s indoor play area into a pit of neglected teddy bears: a depiction of our innocence and naivety being forgotten about and left behind once passing through to what appears to be an interminable stage of our lives. Initially, this process intoxicates each character with hysterical exhilaration and childish wonder as they pass through, but very quickly becomes a sobering and anticlimactic experience when faced with the truth of this inevitable change.
The iconography of the wedding dress acts as a symbol of being contractually bound to unconditional obligations, and once worn, confirms the bind to exciting but equally terrifying endeavours. In relation to the conceptual metaphor of the wedding dress being a suffocating and restricting agreement, this dystopian world was driven entirely by a corporate lifestyle of tediously obsessing over figures and the incessancy of treating even the most wonderful occurrences in life as a self-centered business. Gecko once again prove why they are renowned for their undeniably captivating style of physical theatre, with their ability to completely reinvent their audience’s judgements on thought provoking topics such as this by broadening our minds with their eclectic approach to telling stories we originally think we’ve already heard time and time again. Despite what we are conditioned to believe, Gecko haven’t let us forget that it’s never too late to get a ‘divorce’. – Jade Dillon