After The Irreducible’s curtain call, I’m pretty sure I wasn’t the only one who stayed seated for a few more minutes, processing what on earth (or beyond it) I’d just watched. The promotional images – a contorted androgynous figure dripping in goo and digital warping – convey more of what the show is than anything I could describe. It’s fifty minutes of…that. And somehow, so much more.
The Irreducible is the brainchild of Cohan, creative director of Blank Space Productions and the show’s director, set designer and sole performer. From the moment the audience walks in, Cohan is surrounded by precarious black beams bathed in green light, some of which support bags and vats of transparent goo. In the best way possible, it looks like the set of an Alien knockoff. Cohan, naked except for a full-face balaclava and a large triangular boot on one foot, explores the space. Without dialogue, context, or even facial expressions for most of the show, what we are left with is an androgynous body navigating a familiarly alien world.
Cohan’s prowess as a physical performer is undeniable; their confidence in climbing the set and the variety in their movements is marvellous to behold. There is also a loose sense of storytelling as we see their creature gradually gain mastery over their environment and unveil more unexpected surprises in the set. There was a sense at some points of the creature moving to hit their marks rather than ending up naturally in certain spots, and the ending felt contrived to get Cohan offstage, but this wasn’t enough to break the methodical pacing. The worldbuilding is complemented by fantastic tech design, with a jarringly glitchy surround-sound score, beautiful use of lighting and the wonderful effect of projections on Cohan’s pale naked skin. The Irreducible may be strange and slow-paced, but it’s never boring, and the climax is well-worth the subtle build-up (hint: a lot of goo is involved).
But what’s the point of it all? The queerness is undeniable, as the show revolves around a nude non-binary body and many set pieces and moments could be seen as an homage to camp low-budget horror. Theatre Works bills The Irreducible as “[an investigation of] the boundaries between the queer body, the self and object”, and there’s definitely a thrilling contrast between the natural nudity and movements of the central character and the industrial environment it finds itself in. I was personally reminded of the many connections scholars and artists have made between queerness and body horror, as those who feel alienated from their bodies choose to embrace what society deems as monstrous. Once Cohan’s face becomes visible, there is a sublime ecstasy in their expressions that feels both frightening and enticing. The show is called ‘The Irreducible’, which provokes the question: what parts of our experiences can’t be reduced? The body? The self? Feelings of alienation? The world around us? Perhaps all of the above, or anything else you can think of.
Regardless of what you take from it, The Irreducible is a thematically rich show with a lot to admire if not fear. It’s one of those artworks that’s something of a Rorschach test: what you see in it and how you respond may say more about you than the performance itself. All I can say is what I saw, which was an arresting celebration of queer monstrosity. Come for the spectacle, stay for the depth, and take as much time as you need to sit with it all afterwards.
To book tickets to The Irreducible, please visit https://www.theatreworks.org.au/2026/the-irreducible.
Photographer: Dan Rabin
