Dots+Loops: Rewind
The walk down memory lane ends, and we are ushered out in the foyer for the after party. There’s a bounty of cupcakes (I told you there would be cake didn’t I?) and HipHopHoe is waiting for us with an epic and eclectic set that has the crowd dancing their socks off for the last hour and a half of the night.
Full Spectrum | Anna Whitaker & Riley Towers
The manipulation of the footage felt both hallucinogenic and as if the data was being corrupted. With the electronic tones accompanying the visuals, the experience felt like a computer analysing footage, perhaps trying to understand human behaviour.
NGPE Conversations #2: The Jodie Rottle Fight for Fun
“I wanted music to be enjoyable and funny instead of stressful and serious. Eventually, I found myself asking, why are we even doing this? Fortunately, I had some really, really fun colleagues.”
NGPE Conversations #1: Inside Helen Svoboda’s Genre-Less Cinematic Odyssey
MJ O’Neill is writing about music again, in a new monthly series. For the first of the ‘Noisy <Gender> Punk Energy’ interviews, meet Helen Svoboda, one of the most dizzyingly accomplished and prolific musicians in the country.
34 Scenes About the Weather | Lunch Friend & Anywhere Festival
Featuring 34 Playwrights including two of Brisvegas’s treasures David Burton and Claire Christian, each scene had a distinctive tone and voice, even if sometimes the content sometimes overlapped. Actors Eliza Allen, Harrison Paroz, Jordan Stott and Grace Teng all had their own unique presence on stage and acting prowess. Even off-stage, when they were manually creating weather sound effects – such a brilliant addition – they carried that presence and watchability with them.
REVOLT. SHE SAID. REVOLT AGAIN | Vena Cava Productions
REVOLT. SHE SAID. REVOLT AGAIN is an audacious and bold production. Breaking down text, vocabulary, and vernacular to its most surreal roots, it explores how words and society’s changing definition of them, have shaped the way we perceive and behave towards women, and placed arbitrary – and often absurd – boundaries around gender roles.
"Backbone Festival is a testament to the resilience, creativity and abilities of young artists." Sampson Smith on the 2022 Backbone Festival.
It feels incredible to be a part of the beginning of their journeys, and it’s wonderful to see where artists and works from Backbone end up. I’m particularly excited about presenting the new work of our three Pilot Artists in Residence; Howling Jackals by Micah Rustichelli, Sad Boys Luv Art by Baby Blue, and Pierrot by Martelle Simon-Green.
STOP THAT NONSENSE | Nicholas ‘Prince’ Milverton & IMA
In spite of its brevity, STOP THAT NONSENSE managed to touch on what it takes for a young black man to excel with the loving support of his adoring parents and set within the context of race, privilege and perception underpinned by colonialism. I look forward to the playwright expanding STOP THAT NONSENSE into a full-length work where the many levels of black excellence can be explored in greater depth.
ASK | Tristan Niemi
You could absolutely feel the tension in the room, it was palpable. I felt the recognition of my role as a voyeur in this maelstrom, and my heart started to race. It was thrilling. I felt compelled to keep asking questions. In fact, I asked questions through the whole show, for various reasons. Originally it was curiosity, and even partly some sort of weird benevolence towards the artist in the beginning. This was killed off by of an uncontrollable desire to hear as much of their story as possible.
"We were looking for ways and spaces where all our different musical pursuits could coexist and combine…" Connor D’Netto on NONSTOP
It’s easy for people to assume certain types of music to exist in a certain place, presented in a certain way, and maybe even listened to by certain people. That’s so limiting on every level. It limits the kind of art artists feel comfortable (or are even allowed) to create; it limits whether people feel comfortable in certain spaces and therefore whether they are able to experience different kinds of art; it limits how people are able to come together, connect and interact.
Maze | The Naughty Corner Collective
The actors used neon tube lighting to move around the space, giving shape to the maze and blocking Wray’s path as he approached dead ends. This was a very effective use of the small stage. Further, it made the labyrinth feel alive, almost like a character itself, with the lighting being the blood pumping through the veins of the tunnels.
Forgery | ADC
All of the instructions are random, which makes each transition hilarious but also breathtaking. My eyes dart from each side of the stage as they transition and morph into many different shapes and movements.
Same Penis Forever | Rebel Lyons
Humanising the different agents of social conditioning demonstrated that people make traditions, and traditions aren’t these immovable structures that must be obeyed at all costs. Traditions make culture, so if the diamond engagement ring was something some marketing mogul came up with to sell more diamonds, then why the hell do we take this ‘tradition’ so seriously.
A solo performance-art ritual event where all who enter the space become participants
‘101 Ways to Stare at a Wall’, originally began as a provocative 8-minute performance event! It has actually been inspired by a particular piece of post-war avant-garde music, written by the iconic experimental US composer, John Cage. He liked to work with the Laws of Chance – ‘Indeterminancy’ - to help him compose his works, and I thought I might try that too! So, all stage directives have been worked out by the throwing of dice… And, it has now been expanded in layers, to fill approx. one hour!
Grand Slam & Seventh Birthday | Ruckus Slam
It was all the best trivia-night vibes, coupled with some kick-ass artists. No poetry clicking here. The poets were judged by audience members selected at random who got to don funny hats. The scoring system was in dinosaur puns. You can’t be simultaneously pretentious and score in dinosaur puns.
Bearded Bingo | Briefs Factory and Cluster Arts
Hosted by the very glamorous Shivannah, Thom and Captain Kidd, the mid morning was full of chaotic energy as each contestant fought to be the first one to complete their bingo combination. These very sexcellent bingo combinations included the little willy (one top, one middle, one bottom), the full house (everything), the hourglass (three top, two middle, three bottom) and Tasmania (three top, two middle, one bottom).
1.5x12 | Phluxus2 Dance Collective
“I’ve found time to recalibrate my understanding of self in this shifting terrain. More than ever I feel the deep value of my choreographic self, my collaborators, my community and the significance of arts and culture of our country.” Nerida Matthaei on creating in the new normal.
One Bottle Later | The Good Room
Following Covid-safe distancing and hand-held signs directing us not to speak, we entered into a magical space. The room was beautifully lit by Jason Glenwright with waiters dancing around and making sure everyone was looked after. I felt like I was transported in time to a 1920’s nightclub. The attention to detail was delightful.
Nonstop | Dots + Loops
Is music still music if one rejects a central tone or key? A melody or chorus? The usual instruments in their usual styles? Dots+Loops provides excellent answers to all these questions, bundled together into one odd, eclectic, at times mesmerising evening.
Under My Eye | Bianca Mackail
This work stands out in a mass of sexual-sequinned glamour pusses and full-frontal theatrical wonders. It is raw and fresh and utterly unique and when there is a second season don't miss the opportunity to check out an artist in full flight.