A courageous Paul Gilchrist (writer and director) dares to question the role of story in a time when having a story is of paramount importance in establishing personal authenticity.
A world where past, present and future are one, a world of ever-changing dawn into noon, noon into evening, is wonderfully evoked by the play of light upon…
While Patyegarang is a moving and mesmerising episodic tale of two young people, a local Eora girl and a First Fleet astronomer, for whom the circumstances are out of joint, this dance experience is so much more. The suffering of individuals caught up in events larger than themselves is sad but the true tragic ache is generated by a sense of wasted potential and the loss of possibility.
Mamet’s play, written in 1992 and often viewed as a response to the still relevant issue of sexual harassment publicised through the Anita Hill-Clarence Thompson hearings (USA, 1991), is not confined to the issues of gender and power. Included also is a very relevant critique of education, but more importantly Oleanna explores the way language can be used as a means of control.
In turns fantastic, grotesque and hilarious, Poo Poo Pee Doo, scripted and directed by the multi-talented Anna Jahjah, is a joyous romp in the anarchic spirit of commedia dell’arte. Each of her small compagnie gleefully plays several characters, and it seems, sometimes several characters almost at once, energetically subverting gender, culture, politics and revelling in ridiculous situations, absurd repartee and entertaining stage action.
Where are those happy and edenic times when children were free to make mud pies, decorate them with petal icing and even to taste their produce without arousing…
The Political Hearts of Children was one of my favourite productions from big or little theatre in 2013. As High Windows, Low Doorways used the same immensely successful collaborative approach, and the chosen theme, spirituality, was particularly challenging, I was eager to see this first subtlenuance production of the season.
“Aboriginal culture is being reframed through a new appreciation of Indigenous language” is one way of describing the play Wulamanayuwi and the Seven Pamanui starring local Redfern Aboriginal woman Dalara Williams.
In Cristina in the Cupboard, a tight little play of around 90 minutes, Paul Gilchrist explores the frightening deficit between what actually happens and societal projections of roles, relationships and responses from the perspective of a young woman on the verge of adult life.
A thrilling theatre event, Version 1.0’s devised performance, The Vehicle Failed To Stop, based on the killing of Marou Aswani and Geneva Jalal as they returned from church by private security contractors in October, 2003, asks hard questions about the relationship between commerce, war and privatisation.