Based on the novel by Kenneth Cook, Wake in Fright tells the story of a young and cultured teacher who is eager to escape the confines of the city over his summer break. Becoming stranded in the mining township of Bundanyabba, and gambling away his already meagre wages, audiences witness teacher John Grant quickly enter a booze-fuelled downward spiral.
Elja rarely misses a beat in her stagework; however, to sustain a show of this nature it requires that the performer be a very strong singer, and Elja is not flawless.
After having sex with a man she met on Tindr, a woman is taken in by the government for questioning – her anonymous lover was a whistleblower, wanted for threats to national security. She finds herself embroiled in a contemporary spy drama, manipulated by agents to help them bring down a suspected crime ring in Singapore.
#hastag provides the shy and introverted, but social-media extrovert, the ability to control a merry band of comediennes by commanding them to do your will with the tap of a key.
The acrobatics were impressive and quite funny to watch, the monologues were quirky in deliverance, the strip tease was just awkward enough not to be confronting or gratuitous, and the set was just simplistic enough to give it a real office feel.
[Davies’s] strong, expressive voice, hollow eyes, sad face and bravado are testament to his acting ability, but why oh why he chose to bring his script on stage in a one man show is unfathomable – just wing it!
Experimental and bizarre circus that is as captivating as Fright or Flight is as rare as hen’s teeth. You will laugh at the parley between the kooky characters. You will be enthralled by the aerial acrobatics and bottle balancing. You will want to buy the soundtrack. And you will definitely want to take these weird creatures under your wing.
Pasqualina and Maria Maria are two Roman Catholic Italian choir girls who develop a devotion to Bowie that soon overtakes their devotion to God. Something about this analogy of Bowie as a literal lord and saviour will hold a strong appeal for anyone who has at some point in their lives experienced a Bowie fixation.
The proclaimed Breakfast Club correlation is accurate in an angst-ridden and you’ll-probably-connect-with-it-if-you-see-it-in-your-teens kind of way; however, Wendy House is more of a hybrid between John Marsden’s When the War Began series and, at a stretch, the Hunger Games.
As [Dawson Nichols] shuffles onto the stage in the dim light of a flickering lantern and softly whispers, “I think I might be Edgar Allen Poe,” you know you are about to be transported to a hauntingly strange, poignantly dark, and fiercely funny world.
From the witch’s garish costumes to the overly simplistic lighting, it all just screams “high school production”.
Mutual A-Gender is a showcase in two parts – “Milkshake” by Sarah Ling, and “Gay by Nature” by Nick Walters, both of which explore gender and the nature of its representation – and performance – in society.
This is an engaging, minimalist little play which unites a conservationist and feminist agenda into sad, multi-layered tale.
A young woman enters the online dating world soon after her boyfriend of 4 years dumps her, only to experience all the usual problems: misunderstandings, lies, awkward encounters and incomprehensible internet slang.
The delicacy and grace of the dancers and their innovative interpretation of the work (the 5th Symphony) was indeed charming. They brought two worlds together that seem, at first consideration, so very remote.
