Tae Tae in the Land of Yaaas! | shake & stir theatre co

When the Brisbane Festival first announced their program, Tae Tae in the Land of Yaaas! was number one on my wish list of performances. The captivating poster more than reaffirmed that wish.

No more pretending. I want to see a real person with a disability roll onto that stage. I want to experience firsthand the challenges I face every day (as a person with a disability) being played out on that stage in real time. I want to see ‘me’ on that stage. 

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. The minimalist setting comprises a food tray and a hospital screen which is surrounded by floor to ceiling illuminated plastic compartments in white, red and blue. Upbeat music plays in the background. 

Lights out. 

Tae’s slumped in a hospital bed that all but devours her tiny frame. She’s about to have yet another spinal cord surgery. The unpleasant, lingering aftermath of a car accident at the age of six that resulted in her quadriplegia. Lying in her hospital bed, Tae frets about the unpredictable future that awaits her and her family. She wishes that things were different. 

‘Be careful what you wish for’ comes to mind as her Fairy Godmother bursts onto the stage decked out in a fabulous, glittery costume. Queenie’s ready and poised, armed with her very own brand of ‘stardust’ to help Tae navigate her uncertain future. She’s hell-bent on rewriting the narrative as the audience is taken on a ride like no other to revisit the past and to have a glimpse into the future.

Loud applause for the cast of shake & stir’s world premiere. Each of them dazzled and shone like the stars that they truly are. Maya Dove delivers an accomplished, masterful portrayal of her character, Tae, in her debut stage role. She encapsulated her character’s persona evoking laughter as well as tears from this audience member. Drag queen extraordinaire, Maxi Shield is unforgettable as the big, busty, tattooed fairy godmother. Her versatility is unmistakable as she lip-synced and sashayed her way into her role as Queenie enthralling the audience with her lively comedic relief infused with elements of traditional drag.

Nelle Lee not only wrote this play in honour of her sister’s heartbreaking journey but also plays Tae’s lovable, younger sister Annie. Lee brings to the stage an emotional insight into what it’s like to have an elder sibling who is disabled. Her spellbinding performance is told from a place of honesty, love and admiration, and her skills as a storyteller is exceptional.

Johnny Balbuziente and Helen Cassidy complete the cast of endearing characters. Their multiple roles as overbearing nurses, concerned parents, overzealous doctors, like-minded patients, an amusing Prince Charming  and even a raunchy Rupaul inspired dance crew complete with hip-thrusting choreography was very impressive. Balbuziente and Cassidy should be commended for their seamless transitions into their outstanding multiple roles that happened within the blink of an eye. 

Director Ross Balbuziente avoids the pitfall of over embellishing the fairy tale narrative by ensuring that the characters remain authentic and relatable. Under Baulbuziente’s guidance the audience was able to connect to the highs and the lows of the characters and genuinely empathise with their pain and sadness as well as with their happiness. 

Disability sensitivity and access consultant Madeline Little has taken the necessary measures to tick the boxes to ensure that the space was inclusive and the environment, safe. Dan Venz’s entertaining choreography coupled with Guy Webster’s upbeat sound design enriches the overall performance. While Angela White’s costume designs were simple, she took great pains with Queenie, the fairy godmother’s various, stunning, glittering outfits and extravagant wig accessories that received lots of ‘wows’ from the audience. Standout moment for me was Queenie’s portrayal of an intimidating nurse where her intricate necklace was exclusively made out of syringes, a detail adored by the audience.  

Josh McIntosh’s innovative set design comprised of floor to ceiling, square plastic panels of various sizes in white, blue and red. These morphed smoothly between settings - the sterile hospital room and the vibrant, imaginary Land of Yaaas! They also served as portals that opened separately to reveal concealed alternative settings, performers and props. McIntosh’s creative design approach added yet another depth to the overall theatre experience. Lighting designer Trent Suidgeest created the shift in mood with his striking light changes. Transitions between cool to warm tones reflected Tae’s emotional journey. While at the opposite end, bright, glaring lighting interspersed with the occasional strobe effect announced the arrival of Queenie that well befitted her fairy godmother status. 

shake & stir did not disappoint. The refreshing script challenges outdated notions of what it means to ‘live happily ever after’ and questions the preconceived notions of what it takes to feel fulfilled. It lays bare the real impact a disability has on self-esteem, friends, family and every aspect of life.  

Did I come away feeling empowered? Yes! 

Did Tae’s real life quest for survival resonate with me? Yes! 

More than ever, Tae Tae in the Land of Yaaas! has reaffirmed my own mindset - embrace my uniqueness, be thankful for my resilience and determination in the face of adversity and to continue to live my life to the fullest in spite of my disability.

Who needs glass slippers or magic wands when you have wheels of steel!