It’s a bad time to be lactose-intolerant in Wellington City.
The Milkyverse is the latest in local legen-dairy MILK’s ongoing saga of chaos and moisture. Half-improv, half-roman circus (complete with towel togas and pelting), the show aspires to be a raucous affair amongst the timidity of Wellington improv.
One of the players thrusts a tupperware of water balloons as soon as I’m seated. Some are already leaking and other audience members around me are giddy at the prospect of indulging in their dark desire to shower stage performers with water. At first, I feel a little uncomfortable. After all, the whole point is to throw a balloon when you’re not happy, and the youth of these players has me apprehensive about hurting their feelings.
That fear is quickly alleviated as they taunt the audience with their nimble dodges and quick feet. It feels like about 80% of the balloons whiff, which makes it so satisfying when one lands well. The players revel in the pelting, spurring new choices with every splash. They look like they’re safe, and when they all periodically drop to the floor, it looks like they’re genuinely enjoying the writhing in the water.
The pacing is strong, with the occasional reset before any one mono-scene runs out of steam. By virtue of this being a multiverse story, we are seeing variations of the same characters thrown into slightly different worlds and making the most out of the suggestions that the audience provided at the top of the show. It’s a clever bit of framing. It allows for easy callbacks and constant switching up of the story as the audience signals their desire for a different pathway. The format of the show matches its intent perfectly.
What I really enjoy is the cast’s penchant for drilling right down into these parallels as the show goes on. Sean Burnett Dugdale-Martin’s clown influence can be clearly seen throughout the players’ performance as they’re quick to identify any games that manifest and even take direction from them to really play them up.
Sarah Penny plays the lead, Joa-Queen, chosen by the audience through a trial by ballooning. They are well and truly the heart of the story, allowing herself to react boldly to any offers served up to her by the rest of the chaotic crew.
They are primarily supported by Anna Barker‘s Tracy who clowns up extremely well. She is constantly tuned into what the audience wants to see from her and constantly delivers, even if that means exiting the stage.
The third named character, Rory, played by Adriana Dana Vasinca, is a great supportive act with insanely bold character offers. Her changes to the different variants of her character were a consistent delight and nailed the vibe of every new universe.
A more silent companion in Ezra Prattley felt like such a generous player who was so willing to place himself lower in favour of keeping the show smooth and focused. When he got his monologue, I was thrilled for him.
Rounding out the cast is Salomé Neely, whose energy is permanently upbeat and is always raring to give the story exactly what it needs at any given time, no matter how little sense it makes. They encourage the best of their fellow players and never leave them hanging.
Up in the tech booth are Anne Larcom and Ephraim Frame, who produce dazzling lights that capture the vibe of a multiversal concert perfectly. With gagging sound effects and technical flair, they elevate scenes to that next level we love seeing in improvised comedy.
The Milkyverse is becoming a Wellington stalwart that refuses to lower its chaos levels to conform. Players soak up spilled milk in their towels, only to wring them out immediately. We’re told that we can leave at any time, but we’re fixed in our seats staring at the increasing mess. Balloons are violently aimed at performers’ faces which always seem to harbour a smile. It’s a living, breathing contradiction.
It’s unsterilised MILK.
The Milkyverse is running from 26th to the 30th of November at BATS Theatre. Tickets available from the BATS Theatre website.
Disclosure: As a somewhat active member of the Wellington performing arts community, I may be quite familiar with a number of the performers in this show.
Having said that, I am not a liar, and there is zero bias in my reviews, shut up.
Also, tickets were provided to me for free by the production. Literally changes nothing, though.