Observatory Theatre's 'Disney Off Ice' is a thrilling mix of satire, dark humour, and sharp social commentary. Taking place in 2097, this dystopian sci-fi piece, penned by Oliver Gough and directed by Lachlan Driscoll, imagines a scenario where Walt Disney is thawed from cryogenic slumber, only to throw him into a world he can no longer recognise—a world where capitalism has run amok, the environment is a desolate wasteland, and Disney’s beloved creations have become distorted echoes of their former selves.
The show takes place at the versatile Studio1 in Yeronga, featuring a set design with basic furniture that undergoes a colour transformation during the performance. A screen positioned at the rear serves as a scrim for displaying Disney cartoons, pre-recorded videos of our characters, and AI-generated visuals portraying a deteriorated Disneyland. Particularly striking is its use for the eerie silhouette of Disney's 'rebirth' from his frozen chamber. We learn that the cryotech company 'Pause' is hoping to exploit Disney's legacy as a marking tool. Their business model: use ‘legacy’ unfreezings to gain media attention and more wealthy customers. Their motto: "Communalism, nostalgia, wonder". This original script is intelligent, witty, and sharply satirical, providing a critical analysis of how media and algorithms have curated our lives to the point of having a "shared-spectacle-sized hole in our society."
Chris Kellett delivers an exceptional performance as the irritable and bewildered Walt Disney. From the moment he's unthawed and swaddled in a Mickey Mouse blankie, it's clear that this is not the Walt we know of. Kellett captures the essence of a man displaced in time, distrustful, and cranky, desperate to return to his frozen state of peace. His accent is excellent, and his frenzied outbursts, like his disapproval of the decline in handcrafted work and the company's ventures into new territories like the 'Disney Channel', are humorous. As he descends into madness, he experiences hallucinations of his former employees, begins sketching erratically and starts smoking what eventually becomes a crayon; a subtle touch of his deteriorating mental state and disconnect from the real world. Kellett's portrayal is so authentic that I was completely engrossed, forgetting that I was actually watching an actor. Lines like “You gave me a crash course on the fall of the creative industries. I’m being tortured by watered-down, bastardised versions of my creations,” are delivered with chilling intensity that evokes pity.
The supporting cast is equally impressive. Rebekah Schmidt's portrayal of Joanna is the epitome of corporate aggression—a sharp, cunning character who delivers her monologues with candour and tenacity, both on screen and in person. Her commentary on Disney’s legacy—"Definitely racist, probably sexist"—is both biting and witty, a reflection of the uncomfortable truths that the play doesn’t shy away from. Ophelia Novak and Audrey Allen-Moore, who play dual roles as the 'Pause' company owners and press conference hosts, bring a comedic charm with their exaggerated corporate personalities and uncannily authentic newsreader impressions.
Lachlan McGeary and Beau Doyle, portraying Ajax and Bruno, introduce an additional layer of intrigue as they plan to liberate Walt before he falls completely under the influence of 'Pause.' The group known as the ‘Merry Band’ is a future cult of 'Disney-adults', led by Ajax and Bruno, dressed as Gaston and Le Fou. Their belief that “Disney was not meant for capitalism” is both ironic and poignant as they revere Disney stories as if they were sacred texts and Walt as a messianic figure. With manic energy, Walt leans in and passionately delivers his manifesto to his followers: "You're all mad. But all the best people are. That's scripture. -Alice!" McGeary and Doyle are dramatically effective, with their exaggerated, youth pastor/tyrant-like antics. The line, "Bruno and Ajax would be terrifying if they weren't so sad," captures their tragicomic essence perfectly.
The show’s midpoint, marked by a scene change set to upbeat music as Disney does a little dancey-dance, is a brilliant piece of staging. The portrayal of Disney as outdated, unable to appease anyone in a world that demands constant performance, feels eerily prescient, particularly as we witness his fall from grace the moment Steve Jobs is defrosted and becomes the new focal point. As Disney is tormented by hallucinations of his own creations—the Cheshire Cat, Disneyland tourists, Peter Pan—we see the ultimate irony of his situation. We witness Walt’s desperation for a magical escape from his struggles. And he gets it. Being 'frozen' once again, this time by none other than Elsa, is a poignant metaphor for seeking solace in the familiar amidst an overwhelmingly harsh reality.
Authored by Oliver Gough, this play balances the dark themes with laugh-out-loud moments. The actors' ability to articulate complex dialogue at breakneck speed is impressive, even if it's occasionally difficult to process everything they're saying—a challenge I attribute more to my own auditory processing than their performance. Still, Disney Off Ice has left me with plenty to ponder. It compels one to reflect our on current trajectory as a society. The juxtaposition of humour and horror generates a dissonance that is both engaging and unsettling, like an episode of Black Mirror come to life.
The lighting in the space creates a sense of depth and atmosphere that makes the audience feel as though they, too, are trapped in this surreal, satirical world. The sound effects, especially the Kim Possible tone used as a notification sound, evoke feelings of nostalgia. Incorporating pre-recorded videos to reveal the characters' inner turmoil while we observe them in person is a clever detail that enhances the complexity of both Walt and Joanna.
In a world where everything is commodified and even our icons can be bought and sold, Disney Off Ice serves as a cautionary reminder of the dangers of unchecked capitalism and the fragility of artistic integrity. As the play suggests, we may already be living in the surreal future it depicts—and that’s perhaps the most chilling thought of all. This play is 90 minutes of controlled chaos that challenges our perceptions of legacy, entertainment, commerce, and morality, all while making us laugh at the absurdity of it all. With the standout performances, sharp writing, and a concept that feels all too relevant, Observatory Theatre’s latest production is a must-see for anyone who enjoys theatre that makes you think—and maybe squirm a little in your seat.
Now playing until 1st September, 2024. Tickets available here.
Images by Anderson.
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