No Ball Games Allowed scratches at the insides of our bodies, irresistibly, but without reaching the spot of sensitivity, as it leans away from us and, instead, fully into itself.
Retro sci-fi stage production SLUTNIK™ sprinkles in delight with sincere rocket scientist (Olivia Mcleod) and her Motherboard (Myfanwy Hocking) heading a fleet of lesbian cannibals away from the gendered perils of earth.
A non-linear narrative spun by its emotional axis risks not engaging some audience members with more substance. But, whatever the outcome, He/r doesn’t shirk away from its sensitive nature. The production centres on the unfettered psychology of queer women, coming full bloom through organic emotions instead of a clear cut socio-political takeaway. Although teetering toward overly stimulating and elusive, He/r mediates friendship with a raw, mesmerising quality.
Promising to delve into ‘the death chamber of White Australia’s memory banks,’ Whitenoise: 12 ghosts, with its hazy approach, struggled to move its vision into something ready for audience digestion.
Tears brimmed my eyes as I walked down the dark street from Theatreworks to the car park building past partygoers starting their Saturday night strutting in sleek dresses. Never had I been so viscerally affected by a play to the point it altered my psychology. The Gospel According to Jesus Queen of Heaven made me euphoric, and I felt healed.
This Genuine Moment holds you in the orbit of Riley and Louis’ conversation as they take clumsy steps to embrace emotional transparency with themselves and others.