Verbatim theatre uses the real words of real people. But can an edited truth ever be real?
After God, now playing at Circa Theatre, Te Whanganui-a-Tara Wellington, follows Stuart McKenzie’s quest to grapple with questions of faith and certainty
Theatre and God, once considered dead, continue to thrive and adapt in contemporary society. Stuart McKenzie's latest play, "After God," explores the complexities of faith and certainty by gathering real words from people around the world. Verbatim theatre, a term coined by Derek Paget in 1987, involves creating a performance entirely from real words spoken by real people, collected and edited into a narrative.
The first verbatim play in Aotearoa, New Zealand, titled "Verbatim" (1993), featured interviews with prisoners, their families, and victims' families to create a powerful theatrical experience. McKenzie, along with life and creative partner Miranda Harcourt, has consistently used verbatim theatre to grapple with personal and societal questions, as seen in works like "Transmission: Beta" (2024) and "Biography of My Skin" (2009).
"After God" focuses on McKenzie's journey of faith and the personal verbatim approach, which he sees as a means to make sense of his life and ponder existential questions. The play is built from structured interviews, impromptu conversations, theological lectures, and McKenzie's own reflections. The question of truth in verbatim theatre remains a central theme, as the process of recording, transcribing, and performing the words of others inevitably distorts the original context.
Ethical concerns arise when considering the authenticity of these representations, especially when the label "Verbatim Play" may obscure the complexities of the narrative. Andrew Patterson plays multiple roles, including McKenzie, the interviewer, narrator, and sceptic, providing a compelling performance as an observer in the theological world.
The ensemble cast, including Kali Kopae, Roy Clark, and Tara Canton, adeptly transition between roles, bringing a fresh perspective to each character without relying on costumes. While the production's audio-visual elements and contextual information may be challenging to follow from all seating areas, the overall performance is strong and thought-provoking.
"After God" delves into themes of grief and mourning, alongside its exploration of truth and authenticity, leaving the audience with many unanswered questions. Despite the heavy theological discourse, the play fosters a sense of joy in coming together to engage in dialogue and debate. The author hopes to see how the season unfolds and whether the play's themes resonate with wider audiences. "After God" is currently playing at Circa Theatre in Wellington until November 14.
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