Wright&Grainger’s Selene theatre review: A myth reimagined
Megan Drury and Wright&Grainger craft a tender, myth-tinged coming-of-age story
A new Wright&Grainger show is always a treat, a moment of soothing connection amid the madness that is Adelaide Fringe. Selene, created with and performed by Megan Drury, is no exception. It is slightly mis-named though, because the focus of the show is Pandia, aka Panda, who is actually the daughter of Selene (Greek goddess of the moon) and Zeus in Greek mythology. But what’s in a name? Well, everything really, and carrying an origin story like that means it’s small wonder Panda takes a while to find their feet as they search for their own identity and a place in the world. Most of all though, this is a show about light: knowing when to shine, knowing when to reflect and knowing how to surround yourself with good people so that you never have to blow your candle out to fit in (oh, and the power of Fleetwod Mac. Obvs.)
Backed only by a soundtrack on a laptop, a few lights and the audience, Drury conjures up a whole world, dropping in on Panda’s life at 12, 16, 20 and 24: all the tough bits, basically. She does a beautiful job of showing us how Panda changes yet still remains the same and any parent of a grown-up child will be familiar with those ‘oh yeah, there you are, there you always were’ call-backs that run from babyhood to adult life, the foundations that arrived with your kid, fully formed, always present. In Panda’s case, it’s a sod this attitude, a big heart, and a yearning for truth, ever-present in Drury’s precise physicality, supple voice, genuine warmth and detailed storytelling. That all means that when Pandia finds their voice, and allows us all to share and amplify it, it feels like a very special moment indeed.
Selene continues at the Yurt at the Courtyard of Curiosities at the Migration Museum until March 15.