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6-16 November 1996, Malthouse Theatre
After the Bible, Robinson Crusoe by Daniel Defoe is said to be the most published book in the world. From its original appearance in England in 1719, Robinson Crusoe has become a central part of Western European culture and mythology. In the late 18th and 19th centuries, it was a very popular story for pantomime in which the character of Friday was usually played by a woman. As a children's book, it has filled our fantasies for generations with dreams of escape, rescue and domination. At the same time, Robinson Crusoe can also be read as a text that describes and inscribes the process of colonisation. Living in one of the remote islands that might have been colonised by Robinson Crusoe, we thought it would be apt to revisit the story of the book in the form of a play. We have set our play in a church environment in order to reflect the concerns of Defoe's novel as well as those of the early Canterbury colonists. The second title of our play is taken from Defoe;s book; it may have acquired a new layer of meanings, in retrospect, when Robinson describes himself as "I, that was born to be my own destroyer." We invite the audience to join us on our travels through the imagination following the footsteps of Robinson Crusoe.
This project was developed into a touring production two years later, see related material here Crusoe (1998).
A full recording of this production exists in the Free Theatre archives.
ResearchGreta Bond used Robinson Crusoe as material for her MA research Seeing Friday: Problems of Perception and Reception in Post-Colonial Theatre, University of Canterbury, 1998
Michael Cusdin used Robinson Crusoe as material for his MA research Watching the Savages Dance: Problems and Possibilities of Creating Post-Colonial Performance of Daniel Defoe's 'Robinson Crusoe', University of Canterbury, 1998 Kate McAnergney used Robinson Crusoe as material for her MA research The return of the repressed : the (dis)appearance of the bodily in the post-colonial performance of Daniel Defoe's 'Robinson Crusoe', University of Canterbury, 1999 |
CTV Story
ReviewsThe Malthouse Theatre, with its wonderful acoustics and versatile spaces, provides the ideal physical environment for this physical theatrical exercise. It allows the superbly fit and disciplined cast to deal with the massive physical demands made on them, as they are on stage, that is in the theatre, for the entire play. 
...the approach was refreshingly imaginative and the discipline and endurance of the cast admirable. The physical demands were great.... Robinson Crusoe was not as impressive as The Free Theatre's splendid production of Medea Material last year but it underlines the importance of a drama company that is prepared to take risks and extend the boundaries of both its members and audiences. 
Peter Falkenberg just keeps pushing the envelope.... The commitment of the cast was beyond question, and in fact much of the piece looked like exercises students do where they learn trust, discipline and theatrecraft, and are great fun for the performers but leave the audience feeling left out. Which was the over-riding residual feeling of this preachy, didactic piece. ArticlesFamiliar tale reworked to focus on the issue of colonisation in NZ
Naomi Gilling, The Press, Wednesday 13 November 1996 
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