Sarah Brokensha finds herself in a very personal show – InDaily

Sarah Brokensha finds herself in a very personal show – InDaily


“I’d moved back to Mount Gambier, and that was a real discombobulation for me,” Brokensha explains over barely patchy cell reception from her dwelling in Eight Mile Creek, a quick hop from the principle city. “Moving back to my hometown from the city, [I was] trying to figure out what I wanted, and who I was.”

Brokensha had spent the intervening years touring with the likes of Windmill Theatre, Patch Theatre, Vitalstatistix and her personal award-profitable theatre firm The Misery Children, earlier than life ultimately started to curve again to the south-east for herself and her husband.

“We were living in Melbourne at the time in a share-house, figuring out whether we wanted children, and I had these idyllic memories of my childhood and living on the farm,” she recollects. “And we form of determined that we needed to attempt to have children out of the town, and again round household.

“[But] I guess coming back here, it felt like it wasn’t my home yet, walking through parts of the main street, or shops you used to go in as a teenager. It used to be, but I didn’t just slip back in. I’d been away for so long, and everything had changed.”

Shortly after shifting again, Brokensha encountered the 2012 news story of a tourist in Iceland, who returned to her bus group after a day of mountaineering across the Eldgjá volcanic canyon – solely to seek out a search social gathering underway for a lacking group member. The vacationer joined the hassle, which was referred to as off in the early hours of the morning when it grew to become evident she was the lacking member all alongside (she had apparently modified garments throughout the day and not matched the outline of her misplaced self).

According to Icelandic newspaper Morgunblaðið, this wasn’t the primary time such a combine-up had occurred (a related case of mistaken identification occurred in 1954), however the story quickly filtered out throughout English-language information websites as an intriguing little bit of viral clickbait. Eventually, it discovered its strategy to the Facebook feed of Brokensha, almost 17,000 kilometres away.

“Daisy Brown, the director, and I were talking about what we could do next, and I just came across this article about this woman,” Brokensha explains. “She’d been actually trying to find herself in this search social gathering – and he or she discovered herself.

“It just brought up so many ideas, and parallels, about life and about losing and finding yourself, and I just went, ‘Oh my god, I would be that person who was searching for myself in a tour group’.”

Sarah Brokensha finds herself in a very personal show – InDaily

Sarah Brokensha in the one-girl show The World is Looking For You. Photo: Tim Standing

Moving again dwelling was simply the primary wave of “discombobulations” for Brokensha; first got here motherhood (“I felt like I’d lost a part of me, or I couldn’t recognise myself,” she says), then the loss of life of her father in January 2018, shortly earlier than she and Brown started their first inventive growth with playwright Finegan Kruckemeyer (Hibernation). The pair had beforehand labored with the prolific author on 2010’s Vitalstatistix/Misery Children co-manufacturing Ruby Bruise, and with Kruckemeyer’s assist this nameless vacationer’s story was mapped onto Brokensha’s personal experiences.

“My dad passed away very suddenly – it was a huge shock, and that became probably the thing that we explored the most,” she says, noting that she and her husband have since taken over the household farm and residential in a twist of bittersweet circularity.

“So the grief and the loss of loved ones was woven into this story as well; essentially it’s just me onstage, exploring the different people we are throughout our life, and how we navigate our way through loss, and being lost.”

Despite the borrowed components, Brokensha describes the ensuing one-girl show, The World Is Looking For You, as “a very personal bit of theatre”.

The show begins its Adelaide season on September 1, after a bought-out premiere on Brokensha’s dwelling turf in Mount Gambier. While the preliminary plan for the Country Arts SA-supported manufacturing was to tour regionally, to finish any manufacturing – notably in a border-adjoining group like Mount Gambier – is a uncommon feat. A memorable look in State Theatre Company South Australia’s The Appleton Ladies’ Potato Race in June locations Brokensha amongst a fortunate handful of performers in the nation to seem in two productions in 2021.

“It’s just crazy – even just to have done those three shows in Mount Gambier I feel so lucky that we got to do those,” she says. “Because we did have a week of lockdown during rehearsals, I was just locked down in my director’s house – because it’s a one-woman show, I just locked down with her and kept rehearsing!”

In the top, dwelling isn’t the worst place to seek out your self.

The World is Looking For You shall be on the Adelaide Festival Centre’s Space Theatre from September 1-4. It is offered by the Festival Centre’s inSPACE Program & Control Party, in affiliation with Country Arts SA and Brink Productions.

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This article is supported by the Judith Neilson Institute for Journalism and Ideas.





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