Innocence and Squalor. "The Pitchfork Disney" by Philip Ridley. 4 Bux Progressive Arts [review]
Bramwell, Murray Ross
MetadataShow full item record
"The Pitchfork Disney" first played in 1990 and heralded a wave of what might be called punk theatre. In works such as "Shopping and Fucking" and "Disco Pigs" - both of which have performed in Adelaide - and films such as "Naked", "Praise" and "Trainspotting", the best minds of a generation drew their subject from a vaguely futuristic underclass of alienated, sexually dysfunctional and highly chemicalised young people. They are Thatcher’s mutants, the bastard children of the Third Way. There have been a number of Australian writers exploring similar material - Daniel Keene and Reg Cribb, for instance and local playwrights Stephen House and Josh Tyler. Now, more than ten years on, even though the social issues depicted are still rampant, the genre itself is close to exhaustion and captive to cliché. All good reasons to stage a text which expresses these themes at their sharpest and most disturbing - and "The Pitchfork Disney" does just that.