DramaLab knows how to create worlds within worlds, and their latest production, Firebird is a testament to this. Pohara Hall in Golden Bay becomes a post-apocalyptic, 1950s sci-fi corporation reminiscent of something straight from a Russian gulag. Chunky, ancient computers and industrial scaffolding immediately transport us elsewhere. From the moment we enter, unsettled by a creepy and awkward greeting from the CEOs of the Ministry of Connections, we know we are in for something unusual.

The nature of this world is revealed bit by bit throughout the play, but the initial impression is of a master race oppressing and harvesting resources from the inhabitants. The premise is both clever and chilling: the corporation sources gifted minds and invites them to work at age eighteen. They are then enslaved through the use of brain caps, which harvest the Gifteds’ attention and render them virtual zombies.

Written, produced and directed by Martine Baanvinger, this is a complex and inventive piece of theatre, conceptually and technically. The multi-roomed set design, use of technology, and devised drama all work together to create belief in this world. The audience is initially ushered into the corporation’s cafeteria, where we are addressed by the CEOs, before being taken by “lift” to the first floor.

The entire hall is cleverly divided into several spaces that are slowly revealed throughout the performance (Technical director, Antony Hodgson; VJ / projectionist/ designer, Jim Morisson; Soundscape artist, Mark Manson; Videographer: Sarah-Lou Gamel).

Screens create even smaller, more intimate settings, and most ingeniously, a phone is used to film live conversations that are projected onto two large screens. We become voyeurs, eavesdropping on exchanges we are not meant to hear. These moments are often hilarious, made even funnier by strange camera angles that heighten the awkwardness. The filming is seamless, executed by a stage crew member dressed as a corporate security guard. In fact, all stage crew – lighting, sound and front-of-house staff – are integrated into the world as security personnel, further strengthening the immersive environment.

The aesthetic is particularly striking — heavy computers, chunky doors, industrial tables that transform into a stage, boardroom, and workstations. Even the audience is issued visitor passes bearing the corporation logo, a thoughtful and effective touch. The production balances sterile orderliness with chaotic madness — and without giving spoilers, I’ll leave that contrast for you to discover.

The cast is sizable – Deb Morris, Tamsin Trendell, Kristina Jensen, Jonathan Lea, Stef Jongkind, Shelley Harvill, Mark Roberts, Chai Pyle, Jacopo Lombardi, Jodie Grant and Aroha Bott – and deserves congratulations for their energy and sustained characterisation. Not one performer breaks character, which is impressive given the length and intensity of the piece.

The four actors playing the corporation executives are outstanding — their awkward physicality, exaggerated facial expressions and ability to generate genuine belief in these absurd roles are excellent. A standout moment is their slow-motion dance/trance sequence after “breathing in the Attention”. It had my companions and me in fits of laughter.

The actor playing Ike is a particular standout, conveying this otherworldly character with conviction and integrity. She is a delight to watch. Special mention also goes to the creepy Clifford, the aristocratic Agnes Legato, the fierce rebel Nellie, and the youngest character, the strong and brave Annabelle — well done to all.

This is a play that lingers. Perhaps it offers a message of hope — one of recognising our shared humanity and choosing connection over control. The Firebird itself, symbolised by the wild yet joyful Lottie, becomes an emblem of redemption and freedom.

Golden Bay is fortunate to have DramaLab creating such vibrant, thoughtful, and boundary-pushing theatre. This is an original and exciting work that deserves to fly beyond the Bay and visit other parts of New Zealand. While it may be a logistical undertaking, it would be a shame not to share it more widely.

A truly compelling piece of theatre.

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