The information sheet that accompanies the performance of Wrecking Ball gives plenty of explanation not only about the theatre company Action Hero, but also about the show itself and the impetus behind its peculiar construction. This is a play with a (loose) narrative direction, but is more about dramaturgy itself.

The costuming and set design is a nod to singer Miley Cyrus and photographer/director Terry Richardson, for anyone aware of their work together around the time of Cyrus’s relaunch as a more mature, controversial media figure in 2013. Richardson has publicly denied inappropriate conduct with his subjects for years now, though stands accused of many indecent acts. At one point, our unnamed popstar says to our unnamed photographer/visionary, “Is that just a costume?” referring to his Richardson-style plaid shirt. It’s one of many moments blurring the line between fiction and reality.

Gemma Paintin and James Stenhouse both convince in their roles, though Paintin takes longer to settle into hers, and Stenhouse is obviously more comfortable with the comedy. Their dynamic with the audience is odd to put its finger on. They revealed after the show that they are nearing the end of their run, and a couple of times last night, it did seem as if they were somewhere else, less invested in interacting with or impressing this particular audience than in going through the motions.

One moment that surely every reviewer of this show must talk about is when Stenhouse consumes an entire pink mashed-potato ice-cream cone. (It makes sense when you’ve seen it.) Quite seriously it is a magical sequence, both effective and affective, making the audience squirm as they consider the lengths to which some people would go to sustain a fantasy, or to get their own way. The whole production reminds us how easily art dupes us, and how happily and wholly we are duped.

Still, a stronger show would not need to tell us the questions we should be asking, or what we should be looking at more intently. Information sheet aside, the performance itself does that frequently, nannying its audience members, and it should give them a little more credit because the unexpected moments (the popstar’s flashes of distinct personality, the inclusion of a third voice, the cocktail glass flip) are excellent. But a lot of it is expected.

The end of the show is probably 10 minutes overdue, and, in its essence, minus the particular music and lighting cues that accompany it, is pretty much exactly what one expects it to be. That might not always be a bad thing, but the journey to get would need to be more than an only occasionally exciting one.

I would go see another Action Hero production. They are some wonderful, brave ideas here, but either they need to be grounded and contextualised more, or indulged to their full-blown fantastical conclusions. The in-between hampers their impact.   ★★★☆☆    Will Amott   3rd February 2017