Theatre / “I’ve Been Meaning To Ask You”. At The Street Theatre until July 10. Reviewed by SAMARA PURNELL.

A small white box with “Do not open” had been placed under each seat.  

As the audience settled, classical music was interrupted by a melodramatic bang and flash as the same words flickered across the huge white cyclorama, and so began a visually arresting, loud, high-octane production, “I’ve Been Meaning To Ask You”.

Created by The Good Room and performed by Canberra Youth Theatre, this show was engaging from start to finish. More than 200 questions were asked by children aged 9-13 and were responded to, online, by 3672 adults.

The show jumps between kids reading the responses of the adults and also responding to questions they have been subsequently asked. Director Daniel Evans tackles this format in a multitude of ways – in animated writing scrawled across the backdrop, posing questions that are answered by the cast, or dividing up the cast into “agree” or “disagree groups,” or using torches to indicate agreement or not with various statements.

Pleasantly surprising was the nature of many of the questions, which was not entirely weighed down with statements about the future of the planet, resentment towards older generations, climate change and politics, although these topics were briefly included.

Endearing questions mostly centred on love, relationships, personal insecurities, creative expression and legacy. Many of the questions, including those surrounding money and the environment, were responded to in the style of ABC’s “Q and A” – “Thank you anonymous, 31, for your question…” “Would you rather be a kid or an adult?” “Did you ever bully anyone?”

The questions, answers and presentation were raw and poignant, sometimes acerbic, sometimes jaded, hilarious and brutally honest.

“If you could change one day in your life…” saw the young cast rewrite the endings for their anonymous contributors, playing out the adults’ preferred endings around love, bravery and a very impressive sandwich.

A couple of the questions appeared to be directorial commentary or an attempt to get the audience on-side – “Scomo – agree or disagree?” saw every cast member scuttle to the “disagree” side of the stage – a move that took away from the genuine belief in the children’s thoughts and replies.

The same doubts surrounded the authenticity of “White, straight, males from private schools” as the answer to the question “Who holds the most power?” Other responses, “The Chinese Government” and “The dog” seemed to resonate with the audience who delightedly laughed, cringed and empathised throughout the show.

The pacing was frenetic and the brevity of each response meant that although something felt mildly uncomfortable, sad, historically embarrassing or exciting, there was no time to dwell on it. A quick chuckle, a tinge of nostalgia, a blink-and-you’ll-miss-it visual gag and on to the next thing.

A question about favourite songs meant many snippets of hits were played and it would have been nice to enjoy these interludes for a fraction longer. The whole stage area was activated and utilised well, with many elements and textures included to create a visually engaging and appealing set. Between the raised stage and bench seats, was a sea of blue confetti, thrown around throughout the show.

The pace, mood and style changed dramatically halfway through, with two entities appearing to communicate across a galaxy. Perhaps this was to represent a return to creationism and possibility. It was a strange route to go down, and appeared to be done purely to employ lighting effects and the interactive set.

Although the meaning and purpose here was obscure, the effects were actually soothing, pretty, introspective and accompanied by a beautiful soundscape, (with sound design by Dane Alexander) and galactic lights (designed by Jason Glenwright).

This young cast have put in a tremendous effort, presenting a dynamic, thoroughly fun and energetic production, to an audience more than willing to go along for the ride. This was where the white boxes came in – a relatively non-confronting, novel way to directly engage the audience.

Unexpectedly emotional and poignant, it wasn’t necessary to have a little person in the cast to attend the show and be drawn in.

“I’ve Been Meaning To Ask You” was a commendable collaboration that explores regret looking back and the perennial question looking forward: “What happens next?” The curtain call was accompanied by the song “Do You Realise” by The Flaming Lips – to anyone familiar with the lyrics (not played here), the final question resonates in the lyrics: “Do you realise that everyone you know someday will die?”