Author: Lucy Samson
Dysney Disfunction is a powerful performance piece, which tackles important discourse about immigration law, feminism and, without giving any plot away, so much more.
In this bold new piece of writing, playwright Michelle Sewell explores a young woman’s expectations of love – based on the happily ever after that was promised to her by Walt Disney’s, Disney princesses.
Her solo performance follows the story of Alice (SEWELL) an Australian expat living in London. Her visa has expired and she’s alone waiting for the tube, loaded down with suitcases that are filled with two years worth of a life she now faces leaving behind – but UK residency is just a marriage proposal away.
As she waits for prince charming to show up, Alice discusses her own experiences of love, lust and relocation to examine the messages and expectations in classic disney movies; where grand gestures are the norm and the practicalities of love and commitment aren’t taken into account.
Using props and costume, and a small amount of interaction she is able to familiarise the audience with key players in the plot that aren’t present on stage but play a big role in the dialogue.
Through cinematography and sound effects Sewell gives insight into the hardships of Alice’s past and her reasons for leaving her home downunder.
This piece, which gets off to a slow, and slightly dry start develops into a quick pace and gradually the audience begins to snigger before they gasp. Beyond the dialogue, the concept is currently slightly better than the delivery. Sewell needs to iron out some of her timing – which I’m sure she will.
Grasping for control of her own journey, and sitting on a suitcase and a powerful message, Alice creates an air of tension that blindsides the audience. When the lights went out the extended applause sounded like a stance of solidarity.