Hinterland

Synopsis

The "real" world of the play, set in the house of salesman Henry Quealy and his wife Olive,
first appears to be the typical Australian family home, however playwright Matt Cameron
shows his audience, how this is far from true. At first it seems a boring home, the same thing
happens day in, day out, much like the world of the goldfish that circles his bowl all day. The
nightly broadcasts from the Prime Minister are slightly Orwellian* which sets the tone for the
play. Then the sudden appearance of the Minister, Winsome and her Superintendent Frank
brings humour and energy to the stage, as they begin bullying and accusing the unfortunate
Henry.
Demoted and sent through the “shadow door”, Henry A is replaced by Henry B, who at first
looks like the husband of Olive's dreams - a contrast to Henry A's timid predictability.
Winsome and Frank are primarily engaged in "corridor security", putting non-conformists in
permanent detention. Timid Henry A becomes an unlikely hero when he manages to breach
security and bring the Cumberson Report to the notice of the Prime Minister himself. The
report condemns the government on all fronts, so we are less surprised than Henry when it is
compressed.
The plot is deliberately cliched: a number of literary and dramatic genres are recognisable
throughout the play. For example, The characters, too, are funny because they are
stereotypical.
The play's first act seems a bit slow and obvious at times but the second half picks up the
pace and becomes pure farce, hilariously laced with political satire. The prime minister is
mysteriously shrinking, already a tiny man when we first see him and by the end a mere
insect collected in a glass jar. The suggestion is that this is the result of his moral
degeneration but here as elsewhere in the play Cameron's touch is light, his satire a series of
glancing blows rather than heavy-handed moral lessons.
As the pace picks up, so does the flow of comic one-liners that reinforce the sense that this
wacky world is our world. Cameron makes us laugh at things that in another context might
elicit rage, fear or loathing, but not approval, going by the audience's delighted response to
his bizarre rendering of the political realities that have managed to make "ordinary" what
should be unacceptable

*(has themes of social injustice and a controlling, authoritarian government. The word
Orwellian is most often used to talk about real-life situations that are reminiscent of this kind of
state control and surveillance )

Theatrical Styles

There are two main styles that Hinterland adheres to:

1. Absurdism
2. Magical Realism

Absurdism
Absurdism, or Theatre of the Absurd, is a theatrical style that became increasingly popular in
a post WWII context because it allowed for practitioners and audience members to reflect on
the silly (absurd) nature of life. It is often concerned with questioning the meaning of life
(existentialism) by the way it present hopeless characters and circumstances and problems
that generally go unresolved; the audience is led to reconsider their own outlook on life.
Matt Cameron, an Australian playwright, is famous for his absurdist plays that highlight,
challenge, mock and question the everyday matters concerning Australians by looking at
them in a slightly skewed way.
Conventions of Absurdist Theatre used in Hinterland are:
● Stereotypical characterization
● Time and place is undefined
● Ritualistic movement and/or dialogue
● Moves between extremes of mood and atmosphere (e.g. serious to comical)
● Frequent use of silence

Magical Realism
This style of theatre refers to the magical interruptions to an otherwise realistic plot. It is what
allows some absurdist plays to work so well because it means time and space can be more
fluid than it could be in a realism piece.
Conventions of Magical Realism
● Other worlds
● A sense of mystery
● Extraordinary events unable to be explained by rational thought

Political Messages/Comments

- The forgetful goldfish swimming endless laps around the bowl can have connotations
to today’s world where the prime ministers that keep changing so often and us
forgetting about the last. Which is very relevant with the political world of Australia
today
- Henry is oppressed - the article in the news paper about the man sewing his together
while on phone to prime minister when she says “can i help you” suggesting that the
public is aware of the government's lack of freedom of speech- also roy sewinging his
lips together - could be giving up or fear he’ll say something he’s not supposed too.
- No one can reach or speak to the prime minister. He is always blocked by either
camera’s or everything is handled by the minister of the interior. There is a fear of the
government and PM even though he is so small and helpless literally and figuratively.
They still are too scared to overthrow him.
- The prime minister never says anything of importance yet the people still blindly love
and admire him because he is “our glorious leader” Which makes them turn a blind
eye to inefficient job he’s doing. Which could have a lot to do with the blindfolds that
occur frequently throughout the play.
- Without the prime minister the minister of interior breaks down. Suggesting that
without someone leading even if its not well what is left breaks down and all sort of
falls apart.
- What does the PM stand for? That is never addressed. Does he stand for anything or
is he just a celebrity who has a say.

● Ignorance is not bliss;

● government is deceptive,
● obsessed with power;
 ● fear is the best controller.

Promotional Design

For my design element, i chose to do program and promotion design. After further research, I
discovered a designer of these elements do the following:
● Demonstrates directorial interpretation of the play realised in an original, imaginative
and unified promotion design concept/vision
● Effectively communicates the director's concept/vision through promotion choices
● Uses design elements in each visual item of promotional material in conveying a
dramatic interpretation of the production.
● The poster should be successful in evoking many elements of the play. The image
should speak to you not just about the play itself, but should offer broader connotations
about the nature of the production.

The designs must reflect the director's vision. If the production designers (set, props,
programm and promotional, sound, lighting and costume.) do no meet with the director, the
overall vision and production will not be effective and engaging. Program and promotional
designers are solely responsible for advertising. This effect the overall numbers of the people
who chose to attend a the production, which in turn effects:
- The budget
- Actors opportunity to be seen/known
- The reputation of the production company and/or theatre
Advertising helps in providing various information about the company and the production. It
helps to create a non-personal link between the company and the potential audience. The
importance of advertising to different parties are discussed as follows:
● Information about a production
● Creation of permanent demand
● Conversion of prospective audience to actual audience
● Increase in sales and reduction in cost
● Creation of image or reputation
How the play relates to contemporary australian Audience.

The Australian audience today can relate to the play as they have experienced being under
the leadership of 5 different Prime Ministers in the past 5 years. After John Howard's four
terms in office from 1996-2007, there have been five Prime Ministers. First, it was the Labor
Party in 2010 and 2013, with Julia Gillard toppling the incumbent Kevin Rudd, and then Mr
Rudd seizing back the leadership from Ms Gillard. IN 2015 Minister Malcolm Turnbull stole the
position from Tony Abbott during a leadership spill in September 2015. Just last month Scott
Morrison. Four of the Prime Minister’s have lost office, not at the ballot box, but torn down by
their own parties.
Within Australia this has led to
- Instability
- Mockery
- Uncertainty of what the PM actually stands for.
All of this which is explored in Hinterland. Instability represented by the shrinking PM,
mockery which is clearly evident through Franks character and uncertainty when Henry
asks “What do you think the PM actually stands for”.

Character Description.

Due to the play theatrical form of absurdism the characters are not described in great detail
Olive - Female, married to Henry, the typical role of a housewife, quite reserved, just wants to
be happily married. Her age is left up to interpretation of the director, of adult age.
Henry - male, husband of Olive, predominantly dissatisfied, quite inquisitive and aware
something is not right. His age is left up to interpretation of the director, of adult age.
Frank - Male, clumsy, incompetent and clueless. Very humorous over the top character. Age
left undefined.
Winsome - Female, very direct person, often rushed, tends to not show emotion, military like.
Age also left undefined.
Rationial

I chose promotional design element as I often find it easier to express feeling and thoughts
visually rather than through words. I thought it would be a challenge to find a way to convey
the theme and concepts of the play through the poster. With my design, I am trying to give the
potential audience a small taste of what Hinterland is about as well as provoke interest. In my
design I chose to reflect the concept of the two contrasting worlds within the play, but also the
theme of the desire to escape. I incorporated the idea of two contrasting worlds through the
split black and white page, while this exaggerates the contrast between the worlds it clearly
paints the idea of two different places to the potential audience. It hopefully will spark their
interest and engage them as to encourage them to see the production. By drawing the bodies
of the people in a sketch style I was able to convey the idea that their lives in the contrasting
worlds are not permanent or fixed. I decided to have one of the bodies reaching out the other
world longing to be home or escape their current situation. And the other body I had in a
position of despair and loss of hope, both conveying their desire to escape the world they are
in. I chose to have the body that represented hope and longing in the “light” world as white
has positive connotations of hope in comparison to black which had connotations of despair
and loss of hope.
A lot of my communication with Fiona Burgess was done in person via meetings.