‘Pallas Sister Rising’ was devastating.
Love and hate; two especially strong emotions that are often depicted at opposite ends of a spectrum. This sentiment is challenged entirely by TheatrePunk Co’s staging of Grace Wilson’s new work Pallas Sister Rising. Delving into the complex and combustible nature of female friendship and love, Pallas Sister Rising is a modern reimagination of Greek mythology, loosely following the story of Athena and Pallas that ultimately results in Pallas’ demise.
Direction by El Waddingham sees the cosy intimate Backdock Arts stage transformed into a rundown apartment complete with white sheets covering the walls and the minimal furniture. The show opens with Athena, played by Maddy Leite entering the space accompanied by David Bowie’s Pallas Athena. With a synchronicity to the music, she whips some of the sheets off the boxes before Pallas, played by Cara Avenia, enters. In this moment, there is nothing but joy shared between the women. In a golden light, they hug and dance before just as quickly as Pallas appears, she is gone again. This opening moment is perhaps the only time we see the purity and good in their relationship before it rots into an addicting toxicity. With the action that unfolds afterwards, this moment remains as an anchor for what was once good.
Working in a non-linear fashion, the story is told through Athena’s lens as she recalls the events of the night that led up to her friend’s death. Maddy Leite’s portrayal of Athena is grounded yet timid with a complexity of emotions. Her depiction of grief is raw and vulnerable; it’s not just sadness, it’s anger and pain that is far from beautiful. Leite delivers a particularly heartbreaking monologue that sees her character break down entirely and it’s impossible not to sob along with her.
Essential to the story is, of course, the relationship between Athena and Pallas. Cara Avenia gives Pallas a fiery energy and hot headedness that is a complete contrast to Athena’s more obsequious nature. Avenia brings a strong vocal quality and freeing physicality that ensures each snarky remark is consistently biting. However, underneath the hardy exterior there is an undeniable sense of insecurity that Avenia displays in her character. Avenia and Leite work together beautifully. They are completely responsive to one another, living and breathing each scene entirely. Conversation transforms into bickering before derailing entirely into screaming matches but always remains truthful and honest.
Wilson’s writing sees warm and witty conversation turn cold with fast paced fighting only ever being interrupted by monologues interwoven with beautiful imagery and metaphors. It places a passive character with an aggressive character and forces them to love each other until they break each other. ‘Nobody loves like we do’ Athena states at one point and it leaves audiences wondering if this kind of relationship can even be considered love anymore. Rather it has morphed into an extreme level of comfort that enables the crossing of boundaries and the selfish berating of one another. It’s toxic familiarity.The moment Athena finally stands up for herself and refuses to apologise is the spear plunged into Pallas’ heart and the sealing of her fate. Like in the original Greek myth, it isn’t entirely her fault but how could she not blame herself? Wilson takes Greek mythology and swaps out daggers for sharp tongues that inflict wounds with words.
A heartbreaking exploration of a dying friendship, Pallas Sister Rising will leave audiences with a sinking heart and teary eyes as they witness a story told again in a new light.
‘Pallas Sister Rising’ performed until Sunday 27 August 2023 at BackDock Arts, Fortitude Valley. For more information visit their website.
