Lachlan Werner’s Voices of Evil points to all the different ways possession can show up. Demonic possession, self-possession… ventriloquism as possession. In a show of two halves, his exceptional ventriloquism (actually breath-taking at points), shows his character’s transition from having his voice taken away to being given the chance to finally speak.
In between, we’re here for a ritual. Lachlan’s witch pal (and puppet) Brew leads the charge, directing him to get everything in place for a vague but threatening blood sacrifice. The banter between man and puppet is absolutely seamless, as Brew interrupts him, second guesses him, and manages to somehow put words in his mouth. This display of skills, added to Lachlan’s gentle clowning, makes their mentor/mentee double-act spell-binding, a tender relationship that both holds Lachlan back and pushes him forwards.
When the actual possession happens, we see a darker side to the terrified good boy we know Lachlan as. The climax veers delicately close to cheese, but in a show that has been deliciously camp throughout, it’s forgivable.
In the end, Voices of Evil is an exploration of the complex relationship the main character has with his body and his sexuality, an acceptance and understanding that leads to overcoming your demons, inviting them in and growing comfortable with your own voice.