Diverse writers attending diverse offerings at #brisfest23
We are nearly halfway there, rolling into the third weekend of four action packed Brisbane Festival weekends.
We were excited to return to Brisbane Festival for a third run. The week before the festivities kicked off, we held our third annual professional development workshop with our writers, with two special guests to inspire and provoke.
Interviewer to the stars, media entrepreneur and provocative artist Bec Mac came and discussed the Art of the Interview. We were delighted to touch base in person, for our mutual contributions to the creative vault, ours in writing, hers in video. Her archive of over six hundred interviews over six years is a significant cultural, historical and social documentation of the creative scene in Australia. Bec is a firebrand, and spoke to how we can get to the heart of an interview or a topic swiftly, and how gaining our own greater knowledge of the arts ecosystem can lend weight to more juicy interviews.
We also welcomed Mikayla Hoskings, director, stage manager, actor, writer, production manager and creative. Mikayla’s conversation focused in on how to critique the different creatives within a theatre production. When we are watching a show, what can be critiqued of the performers and other visible creatives like the set designer and costume designer, and what is the directors vision? Can you critique a dramaturg? What is a dramaturgs role? All these questions and more were threshed out, leading to some inspired and excited critics eagerly discussing the possibilities of the written word and the intelligent response to live performing arts.
And then we went out into the festival to see what we could see. The programming this year certainly reaches into hitherto unseen corners. We were delighted to send diverse critics to attend and critique the diverse offerings this year. There are a number of world-class disability-led productions. There are some hefty mainstage offerings exploring the nuances of gender diversity in all its power and fragility. There are brilliant new musicals and fascinating immersive experiences. First Nations arts presented in traditional framing and in stunning contemporary iterations.
They are all gathered here for you to check them out, the reviews of Brisbane Festival 2023. Meet the writers here and find out what makes them tick. Then read through their reviews and see what they think. Jump on our social media and tell us what you thought! And check back here regularly, as new pieces are posted right up to the end of the festival.
The sense of community and joy present in Fashion Collab highlighted to me the importance of accessible creative outlets. Several participants I talked to emphasised the rarity of free and inclusive workshops.
As a first generation immigrant mother endeavouring to teach her daughter to have pride in her ancestry and speak her language confidently, I cannot stress the primacy of plays such as ‘Hide the Dog’ being supported and presented on multiple platforms.
The performance was a thought-provoking experience that left me with a whirlwind of emotions. It combined the three things that tend to lead to the best original work: raw vulnerability, education on a misunderstood topic, and catharsis. This combination seemed to result in a unique sense of community and belonging that I hadn’t expected.
Erth’s Shark Dive did indeed deliver on the immersive 'cage diving' aspect, but it offered so much more than I had anticipated, leaving a surprisingly profound impact on me. The performance was informative but also deeply moving and beautiful, providing insights into the underwater world that I hadn’t expected.
We went from seeing adapted traditional First Nations culture to a psychedelic journey to Club Culture using the power of dance and our ideas of what ceremony is transformed. So, it may seem like I am fangirling but it’s not just inspiration porn, its inclusion at its best and I loved it.
Language is how we relate ideas to each other, and not having language for an experience can be as good as total isolation in it. Through learning the words for her experience, Ivy was able to reach out to those around her and say, “This is who I am. This life is mine, and it’s not yours to define for me”.
Wiradjuri choreographer and Australian Dance Theatre Artistic Director, Daniel Riley, has brought together a talented team of creatives and artists to create a show that focuses on Daniel Riley’s exploration of the life of his Great-Great Uncle, Alec "Tracker" Riley.
It’s always wonderful to see other people’s creations, especially original ones. Drawing inspirations from the origin story of The Wiggles and real life experiences, Keir Nuttall and Kate Miller-Heidke created Bananaland during the pandemic
Party Ghost’s spooky, horror comedy was an absolute delight and had me belly laughing for a full 55 minutes.
Kathryn Hall’s Sheltered is a charming, clever, cheeky, and compelling show (beautifully directed by Andi Snelling). Kathryn is disarmingly honest, speaking directly to the audience about the difficulties of leaving home, and establishing an independent life, while living with cerebral palsy.
Lightscape has taken over public spaces in cities around the world, including Sydney, for more than 10 years. And it is now our turn to experience the global phenomenon during this year’s BrisFest. There’s a lot of publicity about it and many grammable moments that you’ve probably seen in your feeds which has drawn the masses for the length of the festival, but the question I keep asking myself is, is it worth the cost of admission?
I can see why Circa’s Eternity has been the elusive golden ticket of the festival: a sold-out world premiere production by internationally renowned local superstars, promising a site-specific work that brings acrobatic excellence and contemporary spiritual music to Brisbane’s St John's Cathedral.
All-in-all while Underworld has much to answer for dramaturgically it is a night bubbling with the promise of a new generation of operatic stars.
Siva Mai Club does not just speak to Pasifika and Indigenous people, no matter your cultural backgrounds, it is special to be a part of that communion in that 75 mins with a dash of island style humour.
It was on that note of hope and healing where a group of women took their spots on the stage and sang ‘Meanjin Sunrise’ for themselves, their babies, and the betterment of their communities
Ultimately, The Making of Pinocchio is not a grand story looking to shake up gender politics, it is an autobiographical show presented by two individuals telling their story.
The invasion comes, the gun fires, Thomas E.S.Kelly, actor and performer and a Yugambeh/Wiradjuri/Ni-Vanuatu man speaks in language and moves from a place of gathering to anguish as the room melts into a wash of red.
Between songs Leone told us the translated stories and I was in awe of the huge amount of knowledge he had and how deeply he held it within himself.
They are all gathered here for you to check them out, the reviews of Brisbane Festival 2023.
Personal is such a heartfelt story of being a Child of Deaf Adults (CODA) and hands down deserves the awards it’s won as both excellence in theatre, and educational in terms of advocacy for the d/Deaf experience.
The scene exploded into a perfect, frantic homage to b-movies that had me grinning ear to ear. That feeling of anticipation, of knowing you were about to see something that was purely and intensely fun, was my favorite part of this production.
Ultimately I felt it was a kind of accounting. There is no want, no ask from the audience of many peoples, each with their own reason for coming to witness. There is just the accounting. The storytelling. The truth telling.
Why not make your next mother and child date a show at this year’s Brisbane Festival and consume some live entertainment that you can pour over with a glass of wine post-show.
The Little Red Company’s ‘There’s Something About Music’ is the perfect show for anyone, whether you’re a rom-com lover, a Julia Roberts or Hugh Grant fan, in the mood for something nostalgic, or just want a relaxing time step away from reality and get lost in those catchy songs.
I understand that we get so little opportunities to tell our stories and on our own terms and so the craving to tell as much of it as we can in the limited time we have, is one I know well. However, quantity does come at the cost of quality here.
I cannot contain my excitement as I realise that my ‘wish’ has been granted as I roll myself into the theatre. An abandoned wheelchair similar to my own graces the stage.
Utilising highly skilled dancers, co-visionaries Maxine Doyle and Es Devlin have delivered a unique and enthralling large-scale production for this year’s Brisbane Festival.
Matilda Brown and Michael Tuahine each deliver stellar performances as they navigate the present and try to reconcile their intertwined past. Their initial meeting which starts off cool and distant, is wonderfully played out through their prolonged silences and obvious aversion to conversation.
Brisbane Festival is back again in all it’s glory. Editor Nadia Jade has a good look at the program and gives you a rundown of what’s hot, what’s intriguing, what’s unmissable and what’s worth spending the big bucks.
Editor-in-Chief Nadia Jade is a Brisbane-based creative and entrepreneur with a bent for a well-turned phrase and an unerring sense of the zeitgeist. She watches a disproportionate amount of live performance and can usually be found slouching around the various circus warehouses of Brisneyland.