A Play Within a Play, a God Against a Dictator
Back to Back Theatre, an Australian company primarily comprised of artists with intellectual disabilities, is reviving its acclaimed production "Ganesh Versus the Third Reich" in Melbourne ahead of a highly anticipated run at the Festival d'Automne in Paris.
The company, celebrated for its uncompromising work, won the International Ibsen Award in 2022 and the Golden Lion at the Venice Biennale in 2024.
The Narrative and Its Structure
The play unfolds on two levels. The primary narrative sees the Hindu god Ganesh confronting Adolf Hitler over the swastika, a symbol the Nazis appropriated from its original, sacred meaning in Hinduism. This fantastical clash is interwoven with a meta-theatrical depiction of the production's own rehearsal process.
A neurotypical actor, David Woods, plays the production’s director. His character’s behavior escalates from demanding to abusive toward a cast member, blurring the lines between performance and reality. The script rigorously examines themes of power imbalance, the appropriation of symbols, and the difficult distinction between real and imagined harm.
Production and Technical Design
The staging incorporates a rich tapestry of technical elements:
- Plastic curtains
- Shadow puppetry
- Projections
- Lighting by Andrew Livingston and Bluebottle
- Costumes by Shio Otani
- Music by the late Jóhann Jóhannsson
A notable cast change has occurred: Tamika Simpson replaced Mark Deans in the ensemble. The company has chosen to maintain continuity, with the performers still referring to her character as "Mark."
Background and Context
- "Ganesh Versus the Third Reich" premiered in 2011 and has toured internationally.
- The swastika, a millennia-old Hindu symbol of prosperity and good fortune, was co-opted and corrupted by the Nazi regime.
- The narrative makes a pointed historical reference to the trains that transported people with disabilities to concentration camps during the Holocaust.
A Director's Intent
The director of the play within the play articulates a simple yet profound ambition for the chaotic theatrical encounter: "one single moment of connection between two people."