Bighouse Dreaming | Declan Furber Gillick
Bighouse Dreaming is the type of work that reminds one of the simple, devastating power of a well-crafted drama … a work that leaves you gasping for breath through sheer storytelling and performance craft.
Giantess | Cassie Workman
[Giantess] is neither scandalous nor tragic, although it offers poignant memories as punctuation to the tale of a little girl, kidnapped by a troll, who will not be released until she finds all the answers, and faces up to her fears. And the answer is revealed through a beautiful show presented as a comedy, but actually a more nuanced performance with storytelling, spoken word, and a fluctuating line of parable.
The Bluebird Mechanicals | Too Close To The Sun
The Bluebird Mechanicals may be one of the tightest, most considered and deliberate works I’ve ever seen. There isn’t an inch of the show that doesn’t feel like it’s been refined and distilled to its purest, most impactful essence. It knows exactly what it wants to say and exactly how to say it. But, the work’s choice of vocabulary and materials in articulating its ideas are so removed from the norm that, again, it can only easily be described as weird.
How to Spell Love | Anisa Nandaula & Queensland Poetry Festival
Anisa Nandaula’s poetry (which, again, is the heart of the work) is deeply confronting and evocative – challenging and documenting the crimes of colonialism, toxic relationships, racism, capitalism and the many unpleasant intersections thereof.
The Tempest | Zen Zen Zo
The Tempest is a play in which none of the narratives have much substance. Instead, the focus is on the complexities of being human and the consequences of our actions. On the surface, the play appears like a world of magic, love and loss, but Bradley asks us to look beneath the surface.
La Silhouette | Sui Ensemble
The central recurring theme of the piece seems to be compassion. This, along with the work’s larger context of appearing in a queer performance festival and explicit preoccupation with marginalised communities, is why its insensitivity and hurt is the framework of this critique.
Collab Works 2019: Recipe | Shari Indriani & QUT Technical Production
Overall, it’s a work that engenders an excitement for the future of Brisbane’s theatrical community. The script itself is obscenely strong, the performers uniformly excellent and the developing talent involved are seemingly already cultivating excellent instincts. Hopefully, Brisbane will be seeing more of all involved.
Magpie | Elise Grieg
Mordecai, played by Barb Lowing, was utterly convincing, a character we have all met at an airport, or in a busy city bistro. Blustering her way through life, with a mouth like a sailor and a welt of unresolved issues, her fractious relationship with her daughter only serves to highlight her disconnect with her former home.
The Nest | Chance Collective
Sometimes you see a bit of art that is so stupidly fruity, you get a little giddy. From the wantonly creative women at Chance Collective comes a deliciously strange and unrepentantly weird wander into a surreal date night. Straight up, no apologies, this is my jam.
The Humours of Bandon | Fishamble
It’s the type of work that does so much with so little that it’s easy to take the meticulous craft on display for granted. There’s something quietly brilliant in giving the protagonist everything they want halfway through a narrative, for example. And, using the obsessive nature of a character to elegantly deliver exposition and frame the audience’s understanding is exceptionally graceful writing.
Whiplash | Scott Wings
Whiplash starts as a seemingly straightforward journey into how the disparate parts of Scott’s body battle for control on an awkward first date. Performing on a bare stage with just a stool, a music player and a whole lot of charm, Scott utilises every inch of the space and contorts his body into all manner of ways to take us with him on his hero's journey in the search of his heart.
Titanic: The Movie, The Play | Act/React
Bochenski cheekily turns the appearance and attire of each“Young Rose” into chuckle fodder as she invites them up, and the guest is deftly guided and prompted by the cast, all commendable improvisers who are able to springboard from each audience participants’ lines, however hesitant or giggly the delivery.
The Waiting Game | The Reaction Theory
Callum Ford’s direction was fantastic. The way in which the work was staged and the layout of the space as a restaurant, meant that we were enthralled in the characters’ world from before the show even started.
Amelia Anonymous | Virag Dombay
There are moments in Amelia Anonymous that are truly memorable. A sustained moment of sitting in the rain, symbolised by blue torches flickering in the darkness over a single figure, is genuinely inspired. The warmth of the various relationships covered by the play starts to shine through beautifully towards its conclusion.
#FirstWorldWhiteGirls | Spirit Animal
#FirstWorldWhiteGirls figuratively burnt the house down at the Brisbane Powerhouse's Comedy festival tonight. It's infectious, funny and all too real.
What I’m Here For | Elbow Room
It was enjoyable watching the actors interact with individuals walking by but it was just as intriguing the passers-by try to piece together what was happening in front of them and there was a group of about twenty individuals staring at two or more particular people with headsets on. Some stopped to take photos, others tried to listen in but some just walked by...
Crunch Time | Counterpilot
There’s an explicit attempt to link the democratic processes at play in the work’s conception with debates and developments happening around global politics. Sibthorpe’s notes reference Brexit and Trump. There’s a development within the work that explicitly plays with the idea of leadership spills. If there’s a moment that elevates CrunchTime above a good dinner party, it’s that one.
Notorious Strumpet & Dangerous Girl | Jess Love
The show has enough pithy statements and throwaway jokes that those who haven't experienced mind-numbing addiction will find it funny, moving, an education even, an insight. But for those of us who have been down that path, it is a bittersweet cloudy mirror.
Bitch On Heat | Leah Shelton
Leah doesn’t pull any punches as she utilises high-camp, absurdist, lip-synching performance art to explore the history of the sexualisation and vilification of the female body through ancient myths, porn, the politics of stereotypical 50’s house wives, and revenge movies heroines.