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.
Ephemeral | Institute for Molecular Bioscience & Atelier Sisu
In the grand scheme most things we deal with are only temporary. Living and engaging in your current circumstances is the only way to approach life. Otherwise, we get swept up worrying about our eventual end rather than enjoying the beauty we have right in front of us.
Queen's City | Blak Social
Alethea [Beetson] has taken a refreshing approach to telling First Nations stories and has turned that singular, unbalanced narrative into a fierce, honest and sometimes searing commentary on how to move forward by showing us how to look back. The trauma and pain of our First Nations people is an indelible stain on the history of Australia. Queen’s City is an ideal example of a theatre production that can create awareness through its storytelling so that we can move forward and together as a nation (hopefully).
Gail Sorronda on the Art Boat | Brisbane Festival
I cannot imagine this show being nearly as impactful if it had taken place on a standard runway. The onboard installation could have easily distracted from the outfits or vice versa. However, The creativity and ingenuity of those involved allowed their art to complement one another seamlessly. Events such as these that celebrate local talent are critical, and it is always wonderful to see and meet the varied creatives of Meanjin.
Mosaic Multicultural Festival | Multicultural Australia & Brisbane Serenades
These are just some of the many performances featured in the massive action-packed program - there was so much content to discover. The event was so joyous and provided me with numerous insights on how multicultural Brisbane really is and its relevance to celebrate and promote. Not only that, but the audience loved seeing their own culture represented, just like a mini Olympics for the arts.
Holding Achilles | Dead Puppet Society & Legs on the Wall
And the way the tension between the two was established and then built was a masterclass. From the moment they first met and instantly hated each other, to a building of respect and trust, to the furtive, lingering glances, until that final kiss, the punters were with them every step of the way. I have never heard an audience explode with cheers and applause like they did when the pair finally kissed near the end of the first half. I’m sure that there were a number of people in the audience that also found it just a wee bit life affirming.
500 Pieces of Arts Criticism
Arts criticism is cultural criticism. Our artists reflect the world around them, they choose a toothy issue or a personal one, one that affects millions or one that breaks a single heart, and they climb right in amongst it and thresh it out. It’s a vital service, it’s how a culture breathes, how it rebirths, how it discards the rotten and the dead weight, how it dances.
Cirque O L I O | JACs Entertainment
Being a semi-regular attendee of circus, I admit to a degree of scepticism towards the promise that I would see something I had never seen before. I was delighted to be proven wrong, my cynicism melting away not in what was performed, but in who performed it. I’ve seen numerous sexy hoop acts before, but O L I O made the unexpected but fantastic choice of including Adam Malone, a non-binary circus artist in its line-up.
The Call & The Human Voice | Opera Queensland
The Call and The Human Voice presents two deeply emotional, well connected stories about women who lose themselves and meet very different ends through the power of a single phone call. The latter a classic that is given a new life and a new weight in the age of social media and the other an ambitious new Australian work that while a lovely experience could have used a dramaturg on its creative team to make it a lovelier work of art as well.
Sunshine Super Girl | Andrea James & Brisbane Festival
It was heart-warming to watch audience members on both sides of the ‘court’ standing for an ovation as the actors took their final curtain call. I can’t remember the last time I lept to my feet with such joie de vivre.
Wayfinder | DanceNorth
Under the choreographic guidance of Amber Haines and Kyle Page, the versatility and improvisation of the dancers never failed to impress. Moreover the captivating solo performance by Marlo Benjamin had me mesmerised with her non-stop energetic movements that were infused with complicated floor and foot work.
The Knock 'Em Downs | Clint Bolster & Annie Lee
Lee and Bolster were painfully ambivalent, even indifferent, to anyone and everyone’s presence. And best of all, when audience’s participation didn’t cut the mustard, they made no attempt to hide their disappointment. If your ball throwing skills were aimless, you knew it. If you took too long to hand over your ticket, you knew it. If your hoop throws onto the pointy clown noses were lacklustre, you knew it. And not just because of the clown’s body language – with impatient eyes and slouched shoulders – but also because of the ‘loser’ sound que they’d hit each time someone’s efforts deserved public condemnation.
Considerable Sexual Licence | Joel Bray
I found myself looking around the room and wondered how many people had been drawn to the show from its name and hero images. If you hadn’t seen Joel Bray’s work before, you could have fooled yourself into thinking that you were able to see a titillating dance romp. Oh how wrong those punters would have been.
Mzaza on the Art Boat | Brisbane Festival
Brisbane’s Art Boat was more than a thing of beauty as it cruised on Maiwar that evening. We moved across melodies and water bodies in more ways than one. The Art Boat was a vehicle of creative expression and the universality of humankind. Like the request for an encore, it demanded that we paid attention to all that surrounded us externally and filled us internally.
The House | The House of Alexander
The House to me spoke to Pasifika and Asian communities and the need for the creation of contemporary rituals, spaces and practice. Culture is a living thing. We need to evolve with the time and the needs of our people. In The House their cultural pride is on their sleeves and smiles, even from members who have been ousted by their families, still respectful of their roots. Work like this gives permission for all diaspora queer folk to know and believe that culture, gender and sexuality need not be mutually exclusive and can exist together in harmony, even in excellence.
Guttered | Restless Theatre
The company’s writings on the work mention “denial of the dignity of risk” as one of the central themes explored, a phrase which I hadn’t encountered before, but found so eloquently encapsulated through the metaphor of gutter guards and ramps. As a person without a disability, I felt myself reflecting on this idea of “well-intentioned help”, and the ways in which internalised ableism informs my everyday actions.
The Purple Rabbit | Strut & Fret
The five performers all brought wonderful energy and presence from the moment they came onto the stage, showcasing their wide variety of tricks and talents. Most surprising for me was the combination of a champagne bottle and vocal percussion from the beatboxing champion Gale, whose exquisite sonically complex acts made me wish I could have enjoyed his work on a dance floor.