Macbeth: Interview with Rachel Shrives
A grey morning. Two tired uni students have a conversation. Claire Ferguson talks with Rachel Shrives, Assistant Director of UHT’s Macbeth + macdeath: a coda. What are one or two of the key elements of your production of Macbeth? Macbeth in a few words is about over turning the natural order. By natural order, I mean privileges that we’re given that we don’t question, being … Continue reading Macbeth: Interview with Rachel Shrives
Time For the Main Course
“Nine new Australian works is more than you will ever see in one season of main-stage theatre,” Jean Tong rightly announced before the start of Tastings, a series of new Australian plays hosted by the UMSU Creative Arts Office. Coinciding with the 2017 season launches of major theatre companies around the nation (again highlighting the consistent lack of Australian work on the main stage) Tastings … Continue reading Time For the Main Course
High Energy
The audience’s excitement, their trepidation, their desperate prayers for “please, God, no audience participation” – from the first monologue, The Drowsy Chaperone knew what its audience was thinking, and liked to remind us of that fact. St Hilda’s rose to the challenge of this unusually self-referential play, producing a show that was lively and enjoyable, and often subverted our expectations. While there were some rough … Continue reading High Energy
Disturbingly Relevant
Sexual assault is an ongoing social issue, particularly in a college environment, as is the victim blaming and sexism that so often surrounds rape. In light of this, International House’s choice to perform Blackrock, which explores the aftermath of the rape and murder of a teenage girl, is both bold and commendable. Directed by Holly Nugent, the production was as gripping as it was thought … Continue reading Disturbingly Relevant
No Day But Today
Loosely based on Puccini’s opera La Boheme, RENT follows the life of a group of creative friends fighting to overcome poverty in New York City’s East Village in the early 90s. Written and composed by Jonathan Larson in 1993, RENT opened on Broadway in 1996. Larson tragically passed away the night before the first preview of the show, explaining the lack of rewrites and the … Continue reading No Day But Today
Cheeky Comedy
The Med Review just wrapped up their 2016 production, Captain Australia: Emu War, a two and a half hour show of sketch comedy and music, written and performed by the cast. The introductory skit was lacklustre, with all the actors front of stage, deliberating on how to diversify the cast, with a series of jokes that just didn’t seem to land. Ultimately the punch line was … Continue reading Cheeky Comedy
Voicing The Unsaid
Latecomers and (de)construct may have been developed separately, but their connections are clear. Both pieces are concerned with ideas of the self and the ways in which we are perceived and constructed by those around us. Whilst the two pieces explore these ideas to different ends, Open Body has created a compelling partnership that leads audiences to question the true impact of their behaviour towards … Continue reading Voicing The Unsaid
Whipped Into Shape
We all know the story of Elle Woods, a sorority girl who enrols at Harvard Law School to win back her ex-boyfriend Warner. Originated by the writer Amanda Brown in the novel of the same name, Legally Blonde was made famous by its 2001 film adaption, starring Reese Whiterspoon in the lead role. In 2007, the film was brought to the stage by Laurence O’Keefe, … Continue reading Whipped Into Shape
‘Assassins’ A Dream
Over twenty years ago, when Stephen Sondheim’s Assassins originally opened Off-Broadway, the composer expected disapproval of its ‘volatile’ subject matter. The musical tells the stories of nine people who attempted – some successfully – to murder Presidents of the United States, and explores what motivated the assassins, using the conceit of a carnival shooting game. Today, it seems people are transfixed more than ever by … Continue reading ‘Assassins’ A Dream
Enjoying the Apocalypse
‘Don’t you see,’ Jeremy tells the Apocalypse Bear, ‘it was about who we are now and about our childhoods at the same time.’ This concept of duality is at the heart of Lally Katz’s Apocalypse Bear Trilogy. A narrative that stretches across time and space, forcing audiences to consider matters both dark and mundane – from domestic comedy to sexual violence – Katz’s absurdist play … Continue reading Enjoying the Apocalypse
The Dialog 