Theatre / “Two Twenty Somethings Decide Never to be Stressed About Anything Ever Again. Ever.” By Michael Costi. Directed by Luke Rogers. The Courtyard Studio until  December 14. Reviewer by ARNE SJOSTEDT

THIS production is the real deal, letting you delight in the preparation of the craft of acting on show by Canberra Youth Theatre, and the work from director Luke Rogers who, of course, enjoys the present honour of running that professional training ground.

Canberra has been hesitantly awaiting a local professional group. If not elsewhere, something for further discussion, we definitely have one here.

In this mission, Rogers has succeeded, bringing his talent and flair for a NIDA-educated, Sydney-proved and elaborated brand of theatre to Canberra.

With a few productions under his belt here now, this glossy production is firmly stitched in, with some technical tricks that are either unique, or just cleverly implemented, like female lead Martha Russell whispering relaxation assistance into a podcasting microphone.

The impact in the theatre was stunning and Russell’s performance controlled, technically savvy and entertaining in every way possible, as was her counter-star and co-pilot Elliot Cleaves.

A laugh-out-loud performance was delivered via a perfect, relaxed centre, with practised wit and comic timing. What a rush to see these two get up and deliver.

The play itself proved to be harder to get into, given the sheer influx of material around this subject matter with regard to youth content,  the lives and dramas of the sum of us  – by way of in-depth human introspection on the lives of people “20 something”. Think current Netflix star series “Broad City” without all that crazy.

The subtext will  be awesomely clear for those connected to the experience and the message of finding calm and peace within daily life  via the lens and focal point of a single young relationship.

This is  finely crafted workshop-style piece at the hands of playwright Michael Costi with plenty of interest, deep thought and dramatic tension by the end.

The pay-off at the end is superbly refined, appropriate to the play and the lives of the young couple whose issues of living together, coming of age, and investigating how to live in an unstressed way, it presented.

Nestled within technology, and that neo-woke-age spiritual commitment to positivity with “impact and response” constantly knocking at the door, the play faces the  problems of needing to experience real life, launching  this couple toward the eventual questions so many young people living together face.

Throw in a Californian-style spiritual ascender with a man bun and bongos (played with humour and commitment by Blue Hyslop) and you have yourself something worth repeating. A second viewing perhaps? To truly take it in. It could be worth it. Depending on who you are. You age. And your intellect. Smart theatre lives again.

This play gets busy. Rude. Argumentative. And WOKE.