don’t ask what the bird look like | Queensland Theatre
Matilda Brown and Michael Tuahine each deliver stellar performances as they navigate the present and try to reconcile their intertwined past. Their initial meeting which starts off cool and distant, is wonderfully played out through their prolonged silences and obvious aversion to conversation.
Hello Brisbane Festival, what have we here?
Brisbane Festival is back again in all it’s glory. Editor Nadia Jade has a good look at the program and gives you a rundown of what’s hot, what’s intriguing, what’s unmissable and what’s worth spending the big bucks.
ITEM | Dance Masala's Nakhre Crew
The all-female Nakhre crew comprising main performers Andrea Lam, Angela Nair, Ashwin Singh, Janaki Gerard, and Mugdha Khatavkar brought so much vivacity into their respective art-making that their personalities really shone through as the piece unfolded itself in a tight, well-paced composition which spanned an hour.
New look who dis? What’s new at Nothing Ever Happens in Brisbane
Check the all-new-look Nothing Ever Happens in Brisbane. A bright and fun new space, you can expect to see our regular offerings of loads of reviews of all your fave events, plus a heap of new editorials and fun new opinion pieces. Plus, check out our exciting new What’s On in Brisbane Calendar.
The Complete Works of William Shakespeare (Abridged) (revised) (again) | Sun and Wine Arts Company
Director Ben Kasper tackles this fast-paced work by constantly moving at a break-neck pace, throwing one visual gag after another, so even when one particular joke doesn’t land, there is likely one just around the corner that will bring the house down.
Capricorn | Aidan Rowlingson
The first forty-five minutes of the play was some of the most powerful theatre I’ve seen as Dow and Latrise were engaging in an tennis match of absurd proportions about their inner frustrations with themselves and each other, with Llewy-Allan providing comedic quips to add more bounce.
The Poets Club | Hope One
It was a magical night indeed to be entertained by a group of multi-talented brown and black artists from a variety of ethnic backgrounds and ranging in ages. These aunties and their contemporaries were brave enough to share their journey of language, loss, love, community, hope and more.
"The Festival will showcase the best and most innovative comedians and performers." Rosa Sottile on the 2023 Brisbane Improv Festival
This week we have some killer shows in a huge diversity of formats from horror to musical to drama to classic improvised comedy - it’s something for everyone!
CAKE | IMRSE
This extravagant new work by IMRSE is a feast for the senses and an unapologetic exploration of cancel culture and the concept of an invariable history writing itself. Expect no less than extreme over-dramatics–in the best way, I promise! CAKE is hilarious, sexy, and high energy, offering a deeply satisfying way to spend a night out.
Duck Pond | Circa
If you enjoy seeing circus performances, you’ll enjoy this show. The cast do a wonderful job and display a wide range of fabulous skills. It won’t be a production that leaves a life-changing impression on you, but you will enjoy it even if you leave somewhat confused by the overall narrative. If, like me, you go in as an audience member with a critical eye for circus and dance productions and with a knowledge of the classical greats however, you may leave somewhat disappointed and confused.
Bumhole Brunch | Gogo Bumhole, Adrian te Veluwe and The Burrow
On the first Sunday morning of every month at The Burrow in West End rising drag star (or drag gremlin as they’d like to call themself) GoGo Bumhole brings the drag brunch back its underground, community roots. Backed by a cavalcade of Meanjin’s finest cabaret performers, it’s an infectious morning of drinks, feasting, entertainment and dare I say community that’s bound to become a sold-out staple for those in the know.
Common Dissonance | Na Djinang Circus
Under the purposeful glare of the spotlight, the sight of two bodies cocooned in a tight embrace appeared before us. I saw their fingers endeavouring to make imprints on the skin of the other, pressing and digging into soft tissue. As they pushed themselves into each other while trying to simultaneously pry and peel themselves off the other, I gathered that the uneasy, uncomfortable yoking of their physical beings underscored the theme of common dissonance deliberately right from the get-go.
Break | Cecilia Martin & The Farm
Highlights were the directness and vulnerability with which the story was told, and the interweaving of acrobatic skills. We hear insights into the close relationship between skilled performers—including the sheer joy of ‘getting it right,’ as well as the pain and pressure of training, travel, and surgeries, and we see great use of the spinning plates, walking on broken china, incredible athleticism (and skipping), and quite amazing trapeze and aerial acrobatics.
“Going camp”: Revelations on craft, cringe, and queerness with writer and theatre maker Esther Dougherty
I don't think there's ever a point in any of my plays where a character actually tells a joke. It’s not them cracking jokes with each other; we’re laughing at them. It’s clown, and everyone is invited to uncouple from the profundity, the seriousness, to cleanse the palette.
Ordinary Days | New Worlds Stage
I was completely drawn to the performance throughout. I have to admit it was difficult for me to write notes during the performance, as I did not want to take my eyes off away for just one moment. ‘I’ll be here’ by Claire was one of the most touching scenes for me and I couldn’t help but teared up in the end. There were also many funny moments, particularly ‘Dear Professor’., which kept the audience laughing.
Proof | Ad Astra
The actors really owned the sister relationship and there were many beautiful moments of connection in the play. A highlight is where Claire and Catherine are talking about a dress, something seemingly so small but there is a pause where I could feel the entire weight of their relationship and their grief for their father. In such a small moment you could see these two sisters really connect and be completely open and vulnerable with each other without having to say a word.
The Father | PIP Theatre
Tony Nixon’s on stage persona as Andre is flawless - he realistically embodies the role of a person with dementia who is convincing in his struggles to understand the rapid decline of his mind and wellbeing. His physical stance, range of facial expressions, rare lucent moments versus ever increasing memory loss coupled with uncontrollable nervous tics signify the transformational changes and damage of dementia.
Glass Child | The Farm & Kayah and Maitreyah Guenther
In the past two days, I have found myself continuously contemplating every aspect of the performance. The show had so many subtle details that made it truly special. As someone who enjoys revisiting past reviews to gauge a show’s lasting impact and reflect on any evolving opinions, I can confidently say that Glass Child has already left an indelible mark on me. It is a production that I will undoubtedly continue to think about for months to come.
The Elephant in the Review
Shows like The Bigger Picture have value whether a white reviewer approves of it or not. As much as I enjoyed it, my review is ultimately an incomplete understanding of the work, because I will never have the lived experience that would allow that level of depth in analysis.
The Turquoise Elephant | Observatory Theatre
As Director Lachlan Driscoll notes, ‘each character has their bonkers idea of what’s going on outside and how to cope” Carleton observes that ‘we do nothing on a grander and grander scale’. And what, the play asks us, is there to be done? Who should do it?’ In such a situation, an absurdist, black farce is absolutely the way in which to encourage audiences to face up to current reality—and to start to talk about the ‘elephant in the room’ (now, for me, forever turquoise!).