Hide The Dog | Nathan Maynard & Jamie McCaskill
As a first generation immigrant mother endeavouring to teach her daughter to have pride in her ancestry and speak her language confidently, I cannot stress the primacy of plays such as ‘Hide the Dog’ being supported and presented on multiple platforms.
Yuldea | Bangarra Dance Theatre
Ultimately I felt it was a kind of accounting. There is no want, no ask from the audience of many peoples, each with their own reason for coming to witness. There is just the accounting. The storytelling. The truth telling.
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.
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 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 Bigger Picture | Sachém, featuring Matt Hsu’s Obscure Orchestra.
With the colourful ensemble of Matt Hsu’s Obscure Orchestra providing a sonically vibrant depth to Sachém’s poetic innovation from his 2021 debut EP Part of the Picture, The Bigger Picture is explosive but not unstable, complex yet entirely focused, and expansive without ever being overwhelming. Altogether, the experience is simultaneously the manifestation of the incredible skill and ambition of one man while also being an unreservedly proud celebration of a rich, inclusive community.
The Poison of Polygamy | La Boite Theatre & Sydney Theatre Company
Modern Australia has always been diverse, and more stories need to focus on the reality of diversity in our country, even if that is a complicated story to tell. I found the work challenging in the best possible way and felt affected by the narrative. The Poison of Polygamy is a must-see for anyone seeking relevant, high-quality theatric works.
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.
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.
Tiddas | La Boite
There is a context to the play which must be remarked upon, which is the industry-wide dire lack of strong Aboriginal characters on our stage in general, and especially female Aboriginal characters. Despite the under-development of the characters, the actors performed the roles believably and naturally. It was truly delightful to see First Nations female characters on stage played by such fantastic calibre actors, and adapted from the book written by an Aboriginal author.
Brown Church | The Naavikaran Collective
It is not long before I find myself completely taken in by the artists who have now formed a circle of celebration, clapping their hands to time. Naavikaran’s white flowy skirt accented with silvery foil-like material has a life force of its own. The other performers look equally royal in their costumes, twirling, swirling, locking eyes with one another, immersing themselves in the beauty and safety of friendships they have forged amongst themselves. I smile so much at the unfolding of this dance sequence simply because it is unadulterated, unpretentious joy.
Show Ponies | Brisbane Writers Festival
essa may ranapiri was the final one to take the stage, delivering an intoxicating and hypnotic poem threaded with the personification of an echidna as a woman who has no choice but to be violent for their voice to be heard. Accompanied by a beautiful score from their homeland, it was a poem that will stay with me for some time. Utterly striking.
Arterial | Na Djinang
This performance for me showcased the new storytellers of our time, the holders, and caretakers of ancestral message. The work of Arterial to me was a deep dive into what it means to be living now, as a First Nations person in so-called Australia. Ritual and Relationship a strong theme throughout, upheld in a deep respect of Country, Culture and Self.
Club Culture Cabaret | Briefs Factory
At night, the Brisbane Powerhouse is a towering structure. When awash in a coloured glow, the industrial legacies of its brick exterior are exposed and amplified. Standing tall, it looms above the heads of those swallowed by its glass doors. Yet on Sunday night, with Fez Fa’anana (as Shivannah) sauntering amongst arriving audiences and flashing smiles over diamantéd shoulders, the building had never felt so warm.
BRED | Briefs Factory
As impressive as the physical elements were, some of the more powerful moments were the dialogue parts. Emily delivers a powerful spoken word poem that had everyone in the room listening and Luke Hubbard stole the show for me in a closing performance that delved into the ongoing racism in the Australian police force and Indigenous deaths in custody, something that resonated with me deeply.
Seven Methods of Killing Kylie Jenner | Darlinghurst Theatre Company & Green Door Theatre
Before they know it, Cleo and Kara are thrust deep, deep, deep inside the rabbit hole of racism, colourism and the ongoing, relentless commodification of Black women. But when tweets resurface that question @INCOGNEGRO’s stance on homophobia, the battle is no longer fought in cyberspace. It becomes very personal. Gender preferences, shades of skin-colour, types of hair, beauty… are on the table as these two rip into each other while delving headlong into their very own pain and anguish.
NONSTOP | Dots+Loops
The ebb and flow between classic and future sounds was so well balanced the similarities between the two became more apparent as the festival progressed. Almost as if we were guided through a showroom full of refurbished antiques and new things that had been aged so well, we could not tell the difference.
Rhythmology | Tyson Goddard & Backbone
It’s 7pm and I don’t want to be late and as we arrive a few minutes past the hour and do the obligatory check-ins, we see the place is teeming with POC people, the familiar feel of Backbone Youth Arts reeks of that uniquely old ozzy bowlo vibe, but as we enter through the next room, the set slips into a shimmering pink backdrop, fully seated with fabulousness dripping, geometry in the ceiling, warm hues with lighting low, you can feel the vibration from the punters peaking with jittered excitement.
Meanjin is Burning: Ella Ganza and the local Ballroom community on the upcoming Alexander Ball. "I want Meanjin to be the capital of Ballroom in Australia."
Ballroom and the Ball is everything that is fashion, that is high-energy. It is going to be that
event you never knew you needed until you go. You don’t have to be a Queer person, a Person of
Colour, or a Queer Person of Colour to appreciate Ballroom. Because what it also stands for individuality. We don’t want another so-and-so. We want you to be authentically you. That’s why for me Ballroom is that one place where you are guaranteed to be jaw-dropped. You’ll leave saying you never knew how much you needed it in your life.