By David Gardette
One only has to cruise the streaming services to see that society has an immense fascination with True Crime stories. The genre has become a growth industry. A recent study from the US shows that 84% of the U.S. population age 13+ are True Crime consumers, through the many available mediums – film, TV, streaming and pod casts. The multimillion-dollar industry stimulates our curiosity about motivations of criminals, the search for justice and the thrill of solving a real-life whodunit. But do True Crime stories cross that very fine line into voyeurism and just who is the real beneficiary of all these millions earnt?
Local playwright Cassandra-Elli Yiannacou sets out to explore these themes in her latest offering for Melbourne Fringe – Years Years Bears. A dark comedy about cults, community and true crime podcasts, Years Years Bears focuses on a small support group for ex cult members and the stabbing murder of one of its members, Hannah. Years later, two exuberant podcasters, the Girl Bosses, use all devices possible in sharing (often interpreting) the “true story” behind Hannah’s murder – complete with product placement and paid advertising.
Director Cassandra-Elli Yiannacou’ has written an interesting script, challenging the ethics of the True Crime genre. The strength of it is in the Girl Bosses characterisation, well written and performed, great language and phrasing bringing to the front of stage the somewhat ridiculous, vacuous nature of the pod cast trope. While thought provoking, the energy of the writing, ideas and performance leave little room for subtlety or nuance and the production falls just short of its potential as a result. Nothing further development couldn’t address especially in the support group scenes. Actors Nishanti Selvaraj, Bryan Cooper, Yvonne Martin and Emma Hooppell are all solid in their roles and they do exceptionally well navigating the confines of this Lilliputian sized Trades Hall stage.
As with most Fringe shows, contending with a demanding performing environment is part of the norm, and this company, director included, have their share – notably the challenging Victoria Street traffic, the confines of the space and it can definitely be said that daylight savings is not a friend to theatre – with the numerous location lighting changes impacted by the late afternoon light filtering through the theatre blacks. But this company do their utmost at navigating these pitfalls. Hats off to them.
Years Years Bears has done exactly what a fringe show should do, primarily provide a fresh perspective and secondly present performances that are natural and experimental in spaces that challenge the audience and performers. In this case by exploring cults and true crime podcasts Yiannacou holds a mirror up to all of us who have joined the cult of true-crime-as-entertainment genre, she has created a gem of an idea that has potential to really develop into something very shiny and elevated beyond fringe and small dark spaces. Absorbing as always, Fringe is a wonderful platform for these new works to be seen and grow.
Years Years Bears performs at The Festival Hub, Trades Hall until October 20.
Image: Sarah Clarke
