The individual effort put into each element of the project—be it costume, choreography, set or lighting—was obvious in the final polish of the production. Even for those not particularly keen on musicals, there was something for everyone in this production of Footloose. Continue reading How to do Footloose Right: An UMMTA Production
Endgame was a difficult show to watch and a bold choice to perform. The conviction of the performers and the success of the minimalist creative choices, however, brought it to life—in all its absurdity. Continue reading Endgame: Making the Most of Beckett’s Absurdity
It is evident that even though Nora is in ostensibly different circumstances to her original era—and women’s rights have advanced significantly—very little has changed internally for her. The home, marriage and family proves to be just as suffocating, making her reclamation of freedom just as radical. Continue reading Nora: A Doll’s House Triumphs at Union House
The Witches of Macbeth is a true example of a well-known play where just a slight shift in perspective brings a completely new story to life. It embodies what a great retelling should be; thought-provoking and respectful of the original work, yet able to stand proudly on its own two feet. Continue reading The Witches of Macbeth: A Comedic Behind-the-Scenes
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
The Dialog 