Zagazig | Curtain World
Zagazig is a beautiful daydream made manifest, I hope it rises again and again, and for all that it will likely get tighter and have better funding in the future, and possible more rehearsals, actual stage hands, and all that other periphery, this beautiful cacophony of original handmade nonsense will always have a soft spot in my heart.
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.
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.
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 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!).
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.
34 Scenes About the Weather | Lunch Friend & Anywhere Festival
Featuring 34 Playwrights including two of Brisvegas’s treasures David Burton and Claire Christian, each scene had a distinctive tone and voice, even if sometimes the content sometimes overlapped. Actors Eliza Allen, Harrison Paroz, Jordan Stott and Grace Teng all had their own unique presence on stage and acting prowess. Even off-stage, when they were manually creating weather sound effects – such a brilliant addition – they carried that presence and watchability with them.
The Human Centipede Parody Musical | Synergy Production Co & Anywhere Festival
Writers Liam Hartley and Oliver Catton have taken the storyline of the horror movie and turned it into a camp, self-aware, and ridiculous romp, a parody of the film and the cheesiness of musicals generally. The musical numbers are hilarious, clever, and performed with great skill. The content is gruesome, but the energy is high, and the choreography is peppy. We are even treated to a tap-dancing centipede nightmare, complete with a cane held by Dr. Heiter.
Tipsy History | Glitter Martini & Anywhere Festival
One thing I love about the Glitter Martini shows I’ve seen is they’re always audience participation heavy, which is great to keep the crowd entertained at changeovers between the acts. A particular crowd favourite this time was a modern spin on an Ancient Greek drinking game, which everyone got right into, and it really brought out their competitiveness. These interactive segments made the show intimate and that little more special and memorable for everyone.
I'm Not Entirely Here | Vena Cava Productions & Anywhere Festival
While it was impossible to be present for every character interaction or read every scribbled note, I was able to create a complete understanding of the plot. The cast achieved this through moments where all present characters came together to move the plot along. As a result, everyone's experience at I'm not entirely here will be unique, but every experience will also be complete.
13: The Play | Legacy Ensemble & Anywhere Festival
Each of the thirteen performers seamlessly snapped between different set pieces and characters, sometimes even mid-sentence and didn’t miss a beat. In a split second, one actor could be a young child complaining to their parents and in the next breath, they were a gang member. Each transition was seamless as the last.
Polis and Panathenaea | Flaming Carnations & Anywhere Festival
Performance stand outs included Gardiner’s portrayal of Medea and Free’s of Medusa. As Medea Gardiner was both sexy and sociopathic as she detailed her historically misunderstood relationship with motherhood. Free’s physicality as Medusa slithered and snaked, as could only be appropriate for her character.
ART | Staged Theatre Company & Anywhere Festival
As part of the Anywhere Festival, this play was held in a screening room at the Institute of Modern Art. The small space allowed for an intimate performance, something uncommon in Brisbane theatre. All audience members were within meters of the actors, creating an engaging environment in which to enjoy the show.
Card Houses | Harrison Mills & Anywhere Festival
The chemistry and the dynamics between the actors were also brilliant. From their intense fight to a heart-felted conversation, the pacing was well performed throughout, which ultimately drew me deeper into their inner world.
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.
Lucie in the Sky | Australasian Dance Collective (ADC)
Lucie in the Sky is far more than a dance performance. It is an endearing and provocative work of art compelling us to consider deep-diving into the world of cybernetics. Evaluating the potentially detrimental repercussions of AI’s revolutionary progress on some businesses, it begs the following question: What does it mean to see, situate, and elevate humanity at the centre, if not the forefront, of technology?