The Great Gatsby: An Immersive Theatrical Production | Viral Ventures
After a brief introduction to the show’s format by Robuck, the audience is dropped into the world of the novel, all being given the role of the narrator Nick Carroway. Throughout the show the rest of the cast intermittently interacts with each of us as Nick, which seemed to really resonate with a number of punters. Many were all smiles and giggles when they were referred to directly or invited to partake in a small part of a scene.
Poncho: Keep It Up! | Dani Cabs
There’s an undercurrent of struggle in Poncho, of wrestling with shame, of being emotionally cauterised by a culture that punishes any deviation to the rigid, limiting forms of male connection and expression that patriarchy demands. But Cabs has an innate talent for balancing tension and levity, which he deployed masterfully during the piñata sequence towards the end. He brought many in the audience to tears (myself included), and then, moments later, had us laughing again.
GODZ | Head First Acrobats
Having an all-male cast of physically fit circus artists and calling your show GODZ could easily be the set-up of something quite cringy; but I was delighted to have that option cast aside from the moment the show began. Lights shone down on Apollo, Cupid, Dionysus, and Hercules, starting the show with some very skilled and very silly group acrobatics. The team of godly larrikins from Head First Acrobats then treated the audience to a fast-paced and hilarious hour of Greek mythology inspired hijinks where nothing was sacred.
The Bluff | The Drawer Productions
The Bluff is an Australian Gothic play that utilises all of the tropes of the genre to full effect to explore the impacts of a tragic event on a small community, the burden of guilt and shame, the effects of gossip and rumour and the very question of our own existence. There are marshlands, apparitions, isolation, guilt and so, so many secrets; all the good gothic stuff. And this is all finely balanced by enough light moments that we don’t get sucked into complete maudlin Wuthering Heights territory.
Constellations by Nick Payne | All Entertainment
It is a great work out to be onstage essentially unending for an hour and a half and both Katie and William held their space and power for the entire time. They were able to create seamless transitions between the scenes and had some exciting choices and exploration with the dialogue and repeated scenes.
Moon With A View | Moth Light Theatre
Moon with a View is a whimsical and wacky mixture that is often Monty Pythonesque—and occasionally reminiscent of Michael Bentine’s Potty Time—showcasing Calum Johnston’s acting, improv, balloon-manipulation, and comedic talents.
Death In A Statesman | Debase Productions
Death in a Statesman has a lot of fun playing with genre conventions, taking things we typically associate with gritty American crime stories and placing them on a journo in Bundaberg who uses a bike to get around. The whole audience was really receptive to that playfulness and humor, laughing heartily along with the fourth wall breaking jokes and the over the top minor characters. Noir and comedy make a fun combination and I think that genre blend made a good vehicle for a story about family and transitions.
Agatha Christie’s The Mousetrap | QPAC
For a script written in the 1950s, I was pleasantly surprised by the strong female leading the show. Played by clearly talented actress, Anna O’Byrne, Mollie Ralston was a witty and electrifying character. O’Byrne’s energy filled the stage and was captivating to the very end. The entire cast was incredibly well-suited. I particularly enjoyed Laurence Boxhall’s performance of Christopher Wren, a delightfully peculiar character that was often times the comic relief.
Again, You Have Trusted Me | Sarah Stafford
I think I’m a fan because Stafford can silence a room as easily as she can get one onside, and that’s a skill, an artist that makes work that’s rough and stabby and is Not For Everyone. It’s so refreshing actually. I actually can’t think of another work I’ve seen in ages that felt so sharp-edged, so fresh in style and tone as this strange dark tonic.
"We were inspired to create an event that celebrated and centred the art of improvisation!" Rosa Sottile on the 2022 Brisbane Improv Festival
We were inspired by the New Zealand Improv Festival and other similar festivals to create an event that celebrated and centred the art of improvisation! Improvised theatre and comedy is so special because every show is completely unique and different - you literally will never get the same show twice.
Global Fusion- India - 'Into the Light' | Thomas Dixon Centre & BEMAC
“I pay homage to the light,” says Menaka, gently reinforcing the intention of the performance to honour Diwali, the Festival of Light through an amalgamation of select Indian elements and Western influences. The mellifluous sounds of the Bansuri (bamboo flute) played dexterously by Darshil Shah juxtaposed against the lean silhouettes of professional Ballet dancers, Sarah Thompson and Jayden Grogan signal to us that more forces of global fusion are waiting to be unleashed. From the wings onto the stage, and into the light.
Howling Jackals | Micah Rustichelli
Howling Jackals is an exhibition of dichotomies; beauty and destruction, sacrifice and redemption, faith and hopelessness, god and godlessness, ice and fire, and blue and red. Micah Rustichelli has created an installation that explores the days after the rapture through provocative symbology and biblical themes that would make a theology professor blush.
Sad Boys Luv Art | Baby Blue
Dance, drag, costume, and performance come together in Baby Blue’s Sad Boys Luv Art. The show is a journey through male femininity that seeks audience interaction and reflection. Thalia Novela leads travellers through a fantasy world, with each new location introducing a new mythical creature. These magical entities are portrayed by Luna Thicc, Brandi Doll, Bailey Strothmann, Crimson Coco, and of course, Baby Blue.
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.