The show descends from relatable jokes about work and technology into something truly disturbing, presented without a hint of irony and with an admirable commitment to the bizarre
In Honey, I’m Home, creator-designers Alaine Hutton and Lauren Gillis introduce us to a unique brand of dissociative hell.Modern life inexorably pulls us in several different directions at once, fragmenting our attention between digital and physical spaces. Tasks are never-ending, multiplying even as aspects of our jobs automate. After the pandemic demonstrated for most office workers that their jobs were easy to perform remotely, many resented having to return to the office when home beckoned.
Office drone Janine, on the other hand, longs for nothing more than to leave. The only worker left in her physical workplace, there to meet safety requirements, Janine adopts a posture that would make an ergonomics specialist cry as she lies face-down on set consultant Helen Yung’s mysterious horizontal desk contraption. Her face completely obscured by a curtain of hair, Janine shudders through another day of agonizingly slow clicking while her former tasks are performed by machines.
Meanwhile, there’s a disturbing presence on the fringes of her consciousness, appearing and vanishing to S. Quinn Hoodless’s pulse-pounding soundtrack of original music and early 90s dance hits. Andre Du Toit’s skillful lighting adds dimension and mystery to these already strikingly spasmodic motions, contrasting the artificial brightness of the online sphere with a smokier, earthier physical plane. In an extended sequence where Janine’s physical body breaks free and propels itself across the stage with erratic sinuousness, Du Toit’s red-tinged lighting seems to hug the body, outlining it while leaving little else visible.
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