The show memorably began with a screaming clown.
“THE FEAR PROJECT or So… What About Fear?” is the memorable culmination of the DaPoPo Theatre’s Live-In Festival, an entire month of the theatre featuring performances, workshops, and readings related to developing the potential of a shared theatre community.
This piece had been developed throughout the festival, with its songs, script, and design changing form throughout.
The product of Garry Williams and Kristi Anderson, it was clear that this process was for all the better in the end, as the two actors had become especially connected to the work.
The play itself would begin with a pantomime style play for the audience, working to educate the audience on Fear and how, while it is important to be scared of things, at the same time you should never let it conquer you.
This section was to come to an end with a memorable and extremely silly song, “The Terrorist Song.”
After blaming various misfortunes which one encounters daily on terrorists, like delays in the Metro Transit system, it just was an earworm of a song which doesn’t leave your mind. The chorus especially is so:
“Terrorists are scary,
Terrorists have hair.
Terrorists will kill you good,
Especially when you’re not there.
And if you think you might be a terrorist
Who knows it might be true
Terrorists are sneaky
Perhaps they could be you.”
From here, the show became more poignant and personal, as the performers took off their bright red clown noses. Other avenues of fear were talked about, sometimes addressing the audience, sometimes to each other, sometimes with the actors talking to themselves – the fear of personal struggles which one faces day-to-day, like making enough money to live, or of love, or of living a complacent life.
It is perhaps at the end, where this fear of change, of breaking away from a life lived where everything is in one’s own control, one’s own ability is frankly talked about to the audience, where the show is at its scariest.
The performance itself was given in The Living Room on Oct. 30 and 31. Future performances of a revised version of the piece are possible, but no specific dates or plans have been announced at this time.