Bananaland | Kate Miller-Heidke & Keir Nuttall
It’s always wonderful to see other people’s creations, especially original ones. Drawing inspirations from the origin story of The Wiggles and real life experiences, Keir Nuttall and Kate Miller-Heidke created Bananaland during the pandemic
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.
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.
Absolute Objectivity | Backbone
A pop culture fairytale for the internet age, Sampson Smith’s new musical comedy Absolute Objectivity has finally downloaded its way into Backbone Youth Arts. Takes us on a journey to the world elections in the year 2054 where - since the mysterious disappearance of left-wing messiah Turny Banders - the CEO of the world’s largest, and only, corporation ‘Dooglecorp’ has run unopposed as World President for two decades. This journey is filled with rap battles, emotional ballads, sexy times and the most glamorous of costumes.
Absolute Objectivity | Backbone
Backbone was transformed into a glowing corporate dystopia that conjured up visions of 2001: A Space Odyssey and the Apple store. The cast of six emerged clad in matching glittery silver suits and launched into it with the aptly titled, punchy ‘Opening Number’. They brought energy, mostly synchronised dancing and set the tone for one and a half hours of playful absurdity and witty banter.
Chameleon | Karen Lee Roberts
There are many moments I feel swept away by the honesty of living her experience throughout the entire show – particularly the scene where she acts out the consequences of going off meds including a full blown episode involving her partner. Alexandra pleads for help whilst portraying what it’s like to experience the fear of abandonment and confusion caused by changes to her brain chemistry. This was deeply raw and personal and an effective mechanism to flush out any remaining judgment the audience might have.
Conviction | Dots+Loops
It’s hypnotic, beautiful and, in a strangely weightless way, gripping. The kind of performance that could easily open the minds of more populistly inclined audiences to the brilliance of opera and medieval art music. Which, when considered as a feat independent of the specific performance context, feels almost miraculous.
As If No One Is Watching | Vulcana Circus
As If showcases the diversity of these women's experiences, including the mundane life that forced upon us, our inner demons and how we can take back the night. There is something that everyone will be able to connect with here, and I dare anyone to not be moved by what they see.
Hold My Beer | Half-Hitch
Like a good night out, dares and games result in the cast swapping roles, utilising two stages and much of the room and the audience being drawn into the show and into the fun on the stage. T his provides some of the best moments of the show, as the performers compete against each other and audience members to unexpected results.
Re:membering | UMWELTCollective
This is deeply personal work. This is about these two sisters; not all sisters, but these ones in particular. The tides of the relationship are marked out, sometimes it is abundantly clear to us the vicissitudes, other-times we are left to wonder.