This review comes from Night Writes guest reviewer Gabriella Florek
Just as the title of Martin Crimp’s 1997 play can be interpreted in different ways by an innocent reader, the script itself is left open for the the artists involved in its staging. With little direction from the playwright as to how many actors should perform and who speaks the lines, making creative decisions becomes, arguably, an even more precarious task than usual.
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It is painfully ironic, or perhaps just painfully familiar, that not two weeks out from the kick-off of the Sydney Gay and Lesbian Mardi Gras, the Australian government was debating whether or not to legalise discriminating against trans people in schools. It was a pertinent, if backwards, reminder of the way LGBTQIA+ people’s lives are violently shaped by systemic oppression and unfeeling legislation. Breaking the Code demonstrates how very little can protect someone from legalised bigotry.
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