24-Hour Play Generator - WAYTCo

Reviewed by Kate O'Sullivan

WA Youth Theatre Company's 24 Hour Play Generator is the kind of event that reminds you why youth theatre is so important. Bringing together writers, performers, assistant directors, and creatives aged between 15 and 26, the showcase celebrates not only emerging talent but also the bravery required to create brand-new work under extraordinary time pressure.

The concept is simple but ambitious. Writers are given just 12 hours to develop a ten-minute play inspired by a shared theme, in this case, "The Passage of Time". From those scripts, six are selected for development and performance, resulting in an evening of original theatre that is energetic, inventive, and refreshingly diverse.

What stood out most was the variety of responses to the theme. Across the six plays, audiences were invited to consider time through humour, memory, relationships, fantasy, and self-reflection. No two pieces felt alike, creating a showcase that was constantly surprising and full of curiosity.

The performers approached the material with enthusiasm and commitment, supported by strong ensemble work throughout the evening. There was a clear sense of trust between cast members, good spatial awareness on stage, and a willingness to embrace bold character choices. Particularly enjoyable was the inventive use of vocal foley and characterisation across multiple pieces, demonstrating both creativity and strong storytelling instincts.

As with any showcase of emerging artists, the evening also highlighted areas for future growth. Projection occasionally became a challenge, particularly in scenes with fast-paced dialogue, with some important moments getting lost in the space. Consistency was another valuable lesson on display. When performers committed to a specific physicality or character choice, the strongest moments came when those choices were sustained throughout the entire piece. Similarly, greater attention to the locations of imagined objects would help strengthen the reality of some scenes and maintain audience immersion.

From a writing perspective, a handful of scripts occasionally felt as though they discovered their ending before continuing on for another scene or beat. Learning to identify the strongest finishing point is a skill that develops with experience, particularly when writing under significant time constraints. Likewise, some of the larger theatrical choices in the scripts could benefit from clearer setup and justification, allowing audiences to fully invest in those moments when they arrive.

However, these observations are part of what makes the 24 Hour Play Generator such a valuable initiative. The purpose is not to produce flawless theatre, but to create a supportive environment where young artists can experiment, take risks, and learn by doing. Judging by the creativity, energy, and willingness to tackle ambitious ideas on display, the future of Western Australian theatre is in very capable hands.

Reviewer Note: Tickets for this review were provided by the theatre company.