Assembly 2022 | La Boite Theatre
‘Assembly’ is a glimpse into fresh, new, raw, uplifting, punchy, witty, funny, sad, ambiguous monologues written by upcoming playwrights who own their stories. It’s a smorgasbord of flavours. Some palatable, some not. It’s a teaser taster consisting of flawed characters, minimalist props, zero music/soundscape, bittersweet scripts where shades of light and dark reside comfortably side-by-side. Kudos to the actors who did a splendid job of bringing these stories to life within the allocated ten minute time slot.
"I’ve created these shows to ignite and spark conversations about young people and the adults in their lives." Virag Domby on 'Dear Adults' and 'What's for Dinner?'
There was no play medium out there that I felt resonated with my thoughts as young person. Certainly nothing that gave me agency. So, I guess you could say that I made it my mission to write and direct `works which give youth a platform for their voice to be heard.
Not for ... Exposure | Mad Dance House
I’m just beginning to understand the immense dance talent that’s on offer in Meanjin and I think there are many lovers of live performance like me who are finally starting to wake up to the calibre of the street performers based in our town.
"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.
Dominoes & Rum | Nicholas 'Prince' Milverton
The engaging, entertaining and punchy script does lay bare the real truth that migrants grapple with after leaving their country. It is obvious from the plot that reconnecting with one’s roots forms an integral part of identity while belonging to a community of like minded individuals is priceless. It also raises the burning question of cultural assimilation versus acceptance.
"This has been years in the making and sharing it with our communities is also years in the making" Director Te Arepa Kahi at the local premiere of his film 'Muru'
For many indigenous māori whānau or families who have migrated to Australia, some even born here, any New Zealand film, theatrical performance, showcase or concert we choose to attend is such a privilege. It may arrive months later, but the support shown at Muru was one where these examples were evident. Why? They reconnect us to home, they remind us who we are as a unique individual and culture and they tell the lives we once left. They too portray us.
Gates | Bobbie Jones Photography & Robyn Darling Images
I loved this exhibit. I was blown away by Bobbie’s intricate framing of an object that, while regularly used, rarely occupies my mind. These gates each told a story. What I found most peculiar was how certain gates were easier than others to imagine what that story might be. I was so engulfed by some gates, while my eyes fleeted by other gates. I found the open gates most intriguing, as though they were begging me to explore what lied beyond its threshold.
"It’s been (another) difficult year, and we all deserve a Happy Hour." Darcie Rae on the escapist joy of Glitter Martini's latest show
I have spent a fair bit of time thinking about capital A “Art” over the last couple of years, and the line between art and entertainment. I’ve landed on joy as being a perfectly acceptable reason for something to exist, and this show is a celebration of that. Also all the acts are themed around happy hour beverages.
Shakespeare's Othello | Queensland Theatre
On the night of my attendance, it was interesting to note the array of ages in the audience, many of whom could have been in my very own children's age category. Methinks a testament to the enduring nature of Shakespeare’s works? Impressive to note was the resounding applause, standing ovation and numerous curtain calls. Again methinks a testament to the enduring nature of Shakespeare’s works!
The Boys | Pip Theatre
One of the most poignant parts of Graham’s script is that whilst we still see women being sexually and verbally abused, most of the violence is supressed and hidden between the lines of the text. It is up to us to draw those connections and to use our imaginations, for a lack of a better term. Fight director Jason McKell and intimacy director Michelle Miall both did a fantastic job in their respective roles, making these glimpses of violence in its various forms all the more realistic and confronting.
Murder on The Dancefloor | The Mystical Menagerie
Murder on the Dancefloor was a burlesque show with a fun, interactive twist. Before the show began, we were given a piece of paper on which to make our best guess of whom the guilty party was and how they committed the murder. We then witnessed an excellent line-up of local Brisbane performers, with each act containing a weapon as the through line connecting the performances.
Queensland State Final, Australian Poetry Slam | QLD Poetry
The night’s winner [was] Anna McGahan. Her performance was truly the highlight of the competition. McGahan’s writing is lyrically complex, sonically delicious, and speaks of parenting, reparenting, shame, unconditional selfhood, and unconditional love with such a wonderous astuteness. Her victory is more than earned and I wish her the best for the national heats.
"The House (of Alexander) has actually shown me that the world is my oyster and the possibilities are endless." Aniita Maka on power of chosen family in Ballroom.
Seeing women like mama Ella … She was the first openly transwoman who worked in the airlines, and she’s worked in many different industries and how she has navigated through that lifestyle is something we don’t envisage for ourselves, because we feel its out of our reach. To see someone overcome that and negotiate through that stuff, is what inspires me and keeps me going as a person.
Batshit | Leah Shelton
Leah Shelton’s BATSHIT was fast and frenzied. Inspired by Leah’s grandmother’s experiences of mental illness and forced medical treatment, the show was equally intimate and hard hitting. Kicking off with an ear shattering soundscape that was brilliantly timed with the lighting design, the precision of the scenographic elements were a highlight of the show.