★★★★★ - Adelaide Theatre Guide ★★★★ - The Advertiser “It’s about connection. Connection in all its forms: between people, friends, lovers, electricity cords & sockets, all getting close. Trying to get closer.” Intimacy is dead, and we’re partying with its corpse. The award-winning Intoxication returns to Melbourne Fringe 2018, after acclaimed seasons at Melbourne Fringe 2017, Critical Animals in Newcastle, Bondi Feast and Adelaide Fringe 2018! Intoxication is a post-dramatic patchwork about queer millennial anxiety; exploring how the intense fear of being alone rules modern society, and how one person’s loneliness is symptomatic of everyone’s problem. Inspired by the work of sociologist Brené Brown, Intoxication weaves together concepts of vulnerability and shame with Christopher's personal experience of a brain injury and amnesia, and the overall anxiety of being queer in the technological age. First performed as a full production in the 2016 Midsumma festival, the show was reworked and rewritten as a monologue, inspired after Christopher met Kate Mulvany and worked with Gob Squad during their visit to Melbourne in 2016. This shorter version debuted in 2017 at Canberra's You Are Here experimental arts festival.
Warning: Contains strong coarse language, adult themes
“A hard hitting drama, this one-man monologue is made for small rooms and audiences who open themselves up to the figure on stage, make eye contact and prepare for a genuine, moving performance.” ★★★★ - Mitch Mott, The Advertiser ““Intoxication” is a well-written and well-crafted piece of theatre that completely encapsulates the message of self acceptance and finding the ability to love yourself so that it will enable you to love someone else. A message we can all appreciate.” ★★★★★
- Luke Wagner, Adelaide Theatre Guide “Bryant delivers acute reflections on the possibilities for intimacy in an age of distraction, largely by taking stock of his failed relationships. He combines camp humour, soul-baring revelation, distilled insight and hard-won wisdom.” - Cameron Woodhead, The Age