On the eve of their 29th birthday, a Very Online millennial stumbles upon a curious conspiracy theory: the powers-that-be have initiated a new capitalist plot to kill unsuccessful 30-year-olds. What sounds at first like the byproduct of someone watching too many dystopian films from the 1970s quickly proves harder to dismiss. And as the countdown to 30 begins, surviving and saving a generation may be the opportunity one young-ish adult needs to finally fulfil their rapidly fading potential. Unfolding in the form of a hallucinatory YouTube wormhole, Capricorn 29 is a micro movie musical that wrestles with the tyranny of age-based milestones.

We spoke to co-writer Julia Izumi on the eve of the show premiering…

Firstly, how are you doing and how do you feel now we appear *touchwood* to be emerging out of the pandemic?
My feelings shift constantly. I feel like since this panini press began it has been a roller coaster of emotions and that's still going strong. But at least now they are swinging more from "anxious to optimistic" and less from "okay to devastation"?
 
You appear to have been super busy over the last 12 months, which is amazing to hear. How have you found light during such a dark time for our industry and the world?
It's very hard to find a floor lamp with max brightness that costs less than $500! So I caved and bought a cheap one on Amazon that had 4 stars. I don't love it though, so if anyone has any suggestions...

Tell us about your new micro movie musical, Capricorn 29.
It is a YouTube wormhole slash music video compilation that is an interrogation of capitalism, the limits of online activism, and the cultural prioritisation of "your 20s." It's also the story about a millennial unpacking all the toxic ways our society measures "worth."

You've co-written the show with Alex Hare. How do you find the collaborative nature of writing as opposed to writing on your own?
Writing can be such a lonely process, and especially in these overwhelmingly isolating times I really appreciated being able to create alongside another human (albeit through Zoom). I've also never been through a process where someone else comes up with the story and structure before, so that was a new and kind of thrilling experience, since pinning down plot and form is always the hardest part for me.

Was the show originally intended for the screen?
Yes, I think when Alex first approached me with the idea it was more of a literal YouTube playlist with not a ton of original material. Now it's mostly YouTube videos we invented plus a ton of video editing (Alex and Lowell truly did some amazing magic) - but what is a theatre artist if not someone who likes making more work for themselves ;)

Where did you draw inspiration for Capricorn 29?
YouTube videos!! I've spent most of this pandemilovato going on YouTube wormholes, which is why when Alex came to me with this project I was like, "Oh, yes, I know this world very well."

The production is running as part of Post Theatrical, using mail as a theatrical medium. How does this fit in with Capricorn 29?
In some ways mail is the perfect thing to pair the piece with. Capricorn 29 is uber digital, not just in its format but in its content - we go through the whole show watching someone's internet browser. Using mail - particularly a birthday card, which is what early ticket-buyers would have received - as a way in and way out of the show is kind of a lovely reminder that while the web is a powerful tool and right now our main source of connection, there is a world outside of it.

Do you have any future work in planning that you are able to talk about?

A digital reading of my play Regretfully, So the Birds Are will be part of the Ojai Playwrights Conference New Works Festival this summer and I'm also working on turning positive self-talk into a habit.

Capricorn 29 is available to stream from 20-30 May here.