Review: Handicapped fun infectious

THIS production, to which I freely admit I would probably not have gone had I not agreed to review it. turned out, one of the most genuinely entertaining nights I have spent in a theatre all year. A performance by a group of intellectually handicapped adults might not sound a likely prospect yet it delivered laughter and pleasure in abundance and provided a successful theatrical vehicle for the participants to convey some of the messages connected with their recently publicised moves towards self-advocacy.

The show's basic structure was a simple one. A number of skits showing problems faced by the intellectually handicapped (regimentation, negative community image) were balanced in the latter part of the performance by similar sequences with crucial variations, expressing the performers' hopes of how things might be, with public acceptance of them as full members of the community and freedom to make more decisions for themselves.

A front-man interspersed these skits with a number of fables and jokes on related themes, asserting the rights of the intellectually handicapped to be taken seriously, not dismissed as stupid, and to be allowed to dream their own dreams and have their own loving relationships. These points were taken up in the show's central section, an audio-visual account of a young couple's daydreams followed by a skit showing how the sexual double standard affects their relationship.

While the thematic content came from the performers themselves, the sequences were focused and shaped theatrically by the two writer-directors Local professional actor-director-tutor John Hudson worked as an Arts Council-IYDP Telethon Trust supported artist-in-residence at the Dunedin IHC training centre, while Chris Balme. director of much campus drama here in recent years, was employed by the Institute of Mental Retardation. From a series of drama workshops they ran at the training centre grew the idea of a full-scale public show.

Through the technical and visual sophistication of the show was ensured by the employment of experienced local theatre personnel to choreograph it (the dance numbers Well Met By Moonlight and Breaking Out proved to be real highlights) and design costumes and lighting, the most powerful impact stemmed from the performers' infectious sense of fun and obvious commitment to their message.

It is to be hoped that other theatre workers will become involved in this field of drama so that the already impressive work in evidence here can be developed still further.