Mudcrabs’ Inspector Sydney Catchlove was a show with potential that was unfortunately let down by its hit-or-miss comedy, production design and directorial choices. Weird is good. Silly is good. Nonsense is fantastic—so long as the jokes carry themselves. Unfortunately, this was not the case for Inspector Sydney Catchlove. Continue reading Inspector Sydney Catchlove: Mudcrabs Deliver Mediocre Sketch Comedy for MICF
Revenge Plot is pure comedy: it is fun, and it feels like an authentic reflection of friendship, of rivalry and heartbreak, and most importantly, petty drama—all things sorely missed. Continue reading Revenge Plot: A Love Letter to Petty Drama
After years of Covid-related delays, opening night for the long awaited UHT production of Nora: A Doll’s House draws near. It’s a bittersweet occasion as the final UHT production to be held in this famous theatre before it is relocated, but Nora will be both a farewell and a
celebration of the many happy memories made in this space. I spoke with James Madsen-Smith and Leah Bourne, two of the performers in Nora: A Doll’s House. Continue reading Interview with the Actors in UHT’s Nora: A Doll’s House
The play, written between February 2020 and May 2021 and across two different countries, was originally intended to be performed at the University of Melbourne’s 2021 Mudfest. In my opinion, the namesake of the show—the desire line at the centre of it all—was the journey that the play was forced to take before it was performed. It is commendable that, despite everything, Robertson and the cast persevered. Continue reading Desire Lines: Theatre in the face of lockdown
While lockdown restrictions have delayed their production dates, Xanthe and Liv continue to run workshops to assist creatives, performers, and new theatre-goers in expanding their knowledge of Nora, general text analysis, and ways to approach theatre through design practices. Continue reading Nora Creative Development Program
Although this piece was a comedic exaggeration there were times in which the performers acting became too hyperbolic and unrealistic, to the end of disconnecting and hindering audiences from enjoying certain moments of the performance. However, staying with this piece garners the reward of many a witty one liner, piercing and amplifying the production, and re-submerging its audience into the narrative. Continue reading Mudfest: A Socially-Distanced Sample
Every student should be commended for their incredible work as part of Sitzprobe, from actors to creative teams to the orchestra. It was an incredibly enjoyable night showcasing the bright future of musical theatre in Melbourne. Continue reading Sitzprobe: A Shining Tribute to the University of Melbourne’s Music Theatre Association
Dogfight is an overall enjoyable experience. Admittedly, the cast was talented, with some standout performances. However, it is difficult to remember the musical’s most politically charged moments without becoming bewildered by its implications. Continue reading Dogfight: ICAC Overshadows Strong Performances with Baffling Politics
The band is outstanding, bolstering the show’s pep, and the vocal performances from the cast are impressive. The childish, nasal tones of their voices are grating by the end, but it is certainly the kind of performance the musical calls for, and the cast delivers. Continue reading You’re A Good Man, Charlie Brown: a Stunning Return to Live Theatre from the University of Melbourne
Asynchrony emphasizes spectacle and plot in equal measure. Particularly striking is the manipulation of the sense of scale, which transforms the experience into an adventure. The set pieces are all impressive, and when things happen in the environment, these changes are perfectly executed. It is unusual to commend a student theatre group for a show being presented so professionally, but MUST has never had a show like this before, and there is little precedent beyond Monash for this kind of theatre. Continue reading Asynchrony: Monash University Student Theatre Charms with an Immersive Online Production
The Dialog 