• We are connected, but are we close?


The 1's, The 0's and Everything In Between discusses the ever-changing nature of connection. It explores the lives of numerous people across different times and places. Divided into three parts, the play is a series of small and seemingly unrelated scenes that all meditate on ideas surrounding identity, communication and the psychological effects of life in a digital age. A scene may be the Skype conversation between lovers separated by oceans, another the call out to a social media hive mind for tips on how to remove wine from carpet. We move from a YouTube star filming and re-filming their latest video to two members of a firing squad contemplating the values of ambiguous bullets used to kill another person and from a pair of friends agreeing to delete each other’s social identities after their deaths, to the couple looking to spice their relationship up through virtual reality. THE 1s, THE 0s, AND EVERYTHING IN BETWEEN explores how the tools of communication we have at our fingertips have simultaneously brought us together and pushed us further apart.

Form and Style:
The play is separated into three themed parts containing a number of seemingly unrelated vignette scenes. PART ONE features scenes exploring the variety of ways we as humans communicate to each other, how this communication is integral to our understanding of our world and how this is now changed by digital technology. PART TWO scenes explore how we use digital communication to position and construct identities for others to see and how, in this construction, we can often distance ourselves from those we are attempting to communicate with. PART THREE scenes explore the effects this constructed communication has on us as individuals and asks questions about what benefits or dangers these constructions have on our experience of ‘real life’. Within each part, the scenes jump erratically between times, places and characters. It’s a non-linear work that mirrors the style of an online vortex of click-throughs, videos and chats.

Duration of performance: 75 minutes

Interval: No

Maximum performances a week: 5

Remount: $22,144

Weekly Fee: $17,275

Royalties: 12% (10% writer, 2% creatives)

Date available: August 2020

No. people in Touring Party: 9 cast + 1 SM + 1 Tech = 11

Bump-in Time: 4-6 hours (if pre-rig is completed)

Bump-out Time: 2 hours

First Possible Performance: Evening of bump-in

Minimum Break Between Shows: 2 hours

Theatre formats:
Black Box Theatre, Proscenium, Front-on audience configuration

Minimum stage width: 6m

Minimum stage depth: 6m

Minimum stage height: 4m

Minimum Wing Space: Not required

Set description:
1 large floral rug, 3 benches and a clear hanging curtain (note – we are looking at ways to have the curtain on a stand if hanging is not possible in your venue).

Staging description: N/A

Lighting - provided by company:
We will tour with LX hires and console

Lighting requirements - to be provided by venue:
Need access to a standard lighting rig with some specials. Pre-rig required.

Audio - provided by company:
Operated via QLab on MacBook

Audio Requirements - to be provided by venue:
2 wireless headset radio mics & packs required

No. of additional lighting staff required from venue: 1

No. of additional sound staff required from venue: 1

No. multi-taskers required from venue: None

Dressing rooms required:
Minimum 1 with capacity for 9 people

Other technical or performance notes:
Access to power plug-in on the stage for props (kettle, vacuum etc)

Marketing Collateral:
Riptide has a set of images available for collateral and ATYP will be doing a new set in mid 2019 as well as production photos from the original performance and will be able to shoot some short promotional videos with the new cast showcasing the style of the work. ATYP will also produce updated video content. We are happy to work with you on some content that works for your audience.

Community Engagement:
As well as high quality marketing collateral, we will work with each presenter to target high school teachers at local high schools with an education pack (to be developed with the guidance of ATYP). We will include some written scenes from the text for teachers to include in classes in 2020 as scene-work related to the curriculum (Yr 12 contemporary drama, Yr 11 presentational/non-realist drama), allowing them to explore the content & form of the work prior to attending the performance.

The short scenes we send to schools are also ideal to record as short direct to camera video clips, which will also promote the work to the wider community. We will encourage the local young community to film & edit their own clips of the scenes to then share as content alongside our own.

Our young performers will also run a workshop based on the themes & performance style of the work with young people prior the performance. This will inspire & engage local young people interested in drama as they will participate in a workshop with other like-minded & talented young performers for another regional town in WA.

We will also work with the presenter to organise a discussion with a local panel (including young people) to discuss the benefits/issues surrounding our daily interactions with the internet & our devices. This will deepen the audience’s connection with the themes & can occur prior to the show arriving in the town or as a pre/post show discussion.

Target Market:
Schools (upper high school 15+) Young people (15 – 25) The content of this work is timely & pertinent specifically to young people. They The performance of the script is by young people for young people, bringing a high level of authenticity to the script. Note: the script contains adult concepts and swearing.

Contact Email: clea.purkis@manpac.com.au


“Everything about this production was brilliant – from the poignant, funny and shockingly relatable script and clever set, to the innovative staging and flawless performances.
The ensemble worked with Isaacs (an award-winning WA playwright), giving their thoughts and opinions on communication and how technology affects the way we connect with each other. This helps to explain why their performances appeared so natural and authentic; it was a case of their youth being an asset rather than a hurdle. I sincerely hope it can be restaged to a new and bigger audience.”