BATS Theatre (Out-Of-Site) Cnr Cuba & Dixon, Wellington

17/06/2014 - 21/06/2014

Production Details

“What happens on tour stays on tour, right?”  Not today.

Join Slave Labour Productions (Stages of Fear, Citizen Gef) as they explore what it is that makes the big ‘O.E’ so enticing? 

Inspired from interviews with recent Kiwi back-packers, these are the true and unfiltered accounts of what really happens on Contiki, Topdeck, Kiwi experience tours etc. 

Simon, from the land of the flightless bird, is leaving the nest for the first time.  But not without his own baggage.

As We Enter is a show for those of us who have ever questioned our own identity. It’s a work that explores why the concept of the ‘O.E’ is so ingrained in our culture. 

Coming to BATS Theatre  (Out of Site, Cnr Cuba and Dixon)
June 17th – 21st at 6:30pm.
Tickets $18/$14

Tony Black as Simon
Andrew Clarke as Harry
Bailey Smith as Sashi
Jason Tolley as Andy
Freya Boyle as Amy
Jess Old as Hannah 

Stage Manager – Bronwyn Cheyne 
Lights – Bronwyn Cheyne 
Sound – Flinn Gendall 
Publicity Design – Erin McGarvey  

Produced by Bronwyn Cheyne, Jess Old, and Chris Swney 

Loose storyline and confessional monologues lack irony

Review by Hannah August 18th Jun 2014

As We Enter purports to be a “work that explores why the concept of the ‘OE’ is so ingrained in our culture”. This is a genuinely interesting question. New Zealand is becoming more cosmopolitan; virtual access to other cultures and other locations is increasingly enabled via the Internet; the currencies of many of the countries traditionally chosen by New Zealanders as destinations for working holidays are sufficiently weakened since 2008 that it makes far more financial sense to stay at home. There are fewer and fewer practical reasons for young New Zealanders to go on Overseas Experiences – and yet they do, and come back to tell the tales of them, 19 of which (or elements thereof) are included in As We Enter.

It’s hard to know which aspects of Chris Swney’s script are truth and which are fiction, and while this is undoubtedly part of the point, ultimately the careful incorporation of his source material seems to be what contributes to the play’s underdeveloped narrative. Swney takes one aspect of the traditional Kiwi OE – the whistle-stop guided bus tour of Europe – and uses it as a vehicle (excuse the pun) for some superficial commentary on the mind-expanding possibilities of travel and New Zealanders’ need to connect with a more ancient history than our own, but unfortunately the show doesn’t engage with young New Zealanders’ reasons for travel in any meaningful fashion.

Instead it puts onstage six characters – four Kiwis, a Canadian, and a Brit – who enact a loose storyline in which randomly placed confessional monologues and the type of humorous occurrences fondly remembered by the traveller (though not necessarily appreciated when recounted to others) serve as a substitute for actual plotting and character development. As the characters travel through a shallow-focus Europe peopled with national stereotypes, they get to know one another, and themselves – but they don’t ever become sufficiently alive or endearing to the audience to earn their moments of self-indulgence, such as an unintegrated ensemble rendition of Queen’s ‘Don’t Stop Me Now’.  

Slave Labour is evidently an energetic and imaginative company, and there are rewarding moments of inventiveness in the staging – the umbrellas of rush-hour London, the jellyfish hand puppets – that hint at what they might achieve with a more fleshed-out script. The cast is likeable and time doesn’t drag. But fundamentally what this show lacks most of the time is a sense of irony. While these characters’ travelling experiences seem, to them, unique and important, they occur within the context of a homogenised and commodified travel ‘experience’, whose universalism is precisely what should produce a knowing humour within an audience that recognises it and remembers, somewhat embarrassedly, their own past responses to it.

As We Enter doesn’t really navigate this gulf successfully, and could have done with a dash more ‘Gap Yah’-style self-awareness.

But maybe that’s my cynical 30-year-old self speaking. One character describes how her 26-year-old boyfriend turned up his nose at the idea of this drunken European tour on a party bus (throughout which, in actual fact, the characters are very seldom drunk, although they talk a lot about drinking) and perhaps, like him, I’m simply too old for this show.

Opening night received warm laughter from many younger BATS patrons, and if Slave Labour can fill four more houses with theatregoers in the 18-25 age group, then all power to them.


A Sutton June 18th, 2014

Whilst i appreciate this review in terms of it's narrative comments - which i agree could be strengthened - i feel that you missed a great deal from the show. I was fortunate enough to see it yesterday evening, and found it extremely engaging and above all, funny. You've made excellent points, however the show was entertaining and i wouldn't have used the words "self-indulgent", having been on a Contiki tour many years ago i felt As We Enter did a great job in representing the frantic, quick and exciting mania that is a trip in that regard. 

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