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Published February 26, 2020

The Gods The Gods The Gods is the final installment in the trilogy of shows created by UK based The Flanagan Collective and Gobbledigook Theatre, but unlike it’s siblings, Orpheus (2016) and Eurydice (2019), this show is plugged in and pumping, from the moment you enter the reasonably small black box theatre at Adelaide Botanical Gardens it embraces you entirely, you can’t help but be swept up.

The familiar style and unique heart of the brother and sister shows is there, but this show feels like the sibling that left home early, joined a rock band and now is living it’s best life.

The work contains 4 stories, interwoven across 14 songs and beat poems. The boy and the girl in love, the busker and broken man at the bridge, the woman clutching at her husband ashes and memory, and The Gods themselves on evening of the final council, each through line grapples with the concept of belief, acceptance, and indeed existence.

Alexander Wright once again pended the gorgeous and at points heartbreaking words, and Phil Grangeir providing the extraordinary music, but unlike in Orpheus where the music and script we’re two forms of storytelling married, yet with lines drawn between the two, and Eurydice with it’s fleeting blend of the two, The Gods The Gods The Gods melds both together into one. It’s a new hybrid art form, that doesn’t conform to any theatrical norms, it’s somewhere between rock concert, beat poetry and dance party.

Wright and Grangeir, as well penning, star in the work their mite and skills stands tall here as well, with Yoshika Issabella Colwell, rounding out the cast, her energy and performance is dazzling, and her vocals are eclectic.

Roving between three satellite stages, and in among the crowd/mosh pit the trio encourage the audience to become one with the work, and they do willingly, I saw the show twice, once with a mostly young audience and again with a more adult audience, and each were as engaged as the other, perhaps the younger audience more so, which as a youth arts director who never got the chance to see a work like when he was at school has me both envious and thrilled at the same time.

This work is further elevated Tom Kitney’s industrial-come-rave lighting design, that finds the right balance of technical and atmospheric to suit the works hybrid form.

In the dying moments of the work, Zeus, through a blaze of light, sound, and haze suggests, we mere mortals have grown tired of the ancients and don’t need them anymore, and that they The Gods should no longer hold council and leave us to our ways and our new gods of mortals not eternals, and if by some divinity that’s true (and it does feel like it given all going on in the world) and they have left us this show feels like their parting gift, and what a gift.

The Gods The Gods The Gods is a roaring, thunderous, crescendo, that’s glorious and captivating. It rises up from deep below our feet, perhaps from Hades, or for from above, from the heavens, that engulfs you.

Do what you need to get a ticket, sell your soul to Hades if you must, it’s perhaps not just the best show of the 2020 Adelaide Fringe, but the best show of 2020.

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