About The Production – Cancer and Cartwheels

Dr Jo Prendergast - Cancer And Cartwheels

Today, we chatted with Dr Jo Prendergast for an About The Production chat about her show, Cancer and Cartwheels.

Cancer and Cartwheels is an inspiring, comedic solo show that takes audiences on a journey through Dr Jo’s breast cancer experiences, blending standup, musical numbers, and storytelling. With a mix of humor and heart, the show tackles everything from early cancer detection to menopause and health care inequalities—all wrapped up in a cartwheeling good time!

About Cancer and Cartwheels

What is this Production about?

Cancer and Cartwheels is an uplifting solo comedy show which celebrates my breast cancer survivorship and regaining my cartwheeling ability. I wrote the show during my cancer treatment as a way of coping and finding purpose. I take my experiences in funny, absurd directions via comedic skits and musical numbers and narrate via storytelling, standup comedy and use of images and video clips.

The show aims to entertain, and also to educate. I hope to increase awareness via comedy with messaging about early detection of cancer, menopause symptoms that are rarely talked about and living with the effects of cancer treatment. I also explore broader themes such as toxic positivity, body neutrality and health care inequality. Laugh and learn with an hilarious night of meaningful comedy.

What’s challenging about bringing this script to life?

The biggest challenge has been writing a script that finds the humour in my experiences as obviously cancer is inherently a tragic topic! With comedy about difficult topics, I think it’s essential to focus on our own personal experiences and not make generalised statements.

I use metaphors a lot in this show; after surgery I ended up with a perky B cup on the cancer side and on the other side, an age-appropriate semi flaccid D cup. I decided it was like I had a Millennial Boob and a Boomer Boob, so of course that required a skit of Generation Wars taking place in my bra! I noticed words that seemed inappropriate for cancer, such as it being ‘triple positive’; how uplifting is that!? I don’t think other illnesses get the ‘triple treatment’ – imagine if you were told you had triple gonorrhoea!

What sort of person is going to love this show?

My audience for this show has been diverse, from young people in their 20s who are interested in hearing my story and learning about cancer survivorship, to older folk in their 70s and 80s. The majority of my audience has been women 45-65, some of whom are breast cancer survivors and others who find the broader material about aging and menopause relatable.

There is also a health professional audience for the show, and this is likely to grow as I perform excerpts of the show at medical conferences. The health professional audience includes cancer society groups, doctors and nurses and others working in the area. While the focus of the show is my cancer survivorship story, there are also broader themes about coping with change, health care inequality, body neutrality and toxic positivity that are relatable to many people. Almost everyone’s lives have been touched by cancer, and the early detection messages are important for all to be reminded of.

What will the audience be thinking about in the car as they drive home after this show?

From what previous audiences have said, they are surprised at how much they laughed and learnt! I hope the audience leaves with a somewhat sore tummy and facial muscles from laughing so much. Also, that they takeaway some of the key health messages such as check for lumps in boobs and balls and find out your breast density. Hopefully, audiences leave with more understanding of the ongoing impact of breast cancer treatment or feeling that their own experiences have been portrayed on stage. Perhaps they may leave with a slightly lighter wallet if they decide to make a donation to the charity I am fundraising for, Breast Cancer Network Australia. And perhaps they take away a wish to try cartwheeling (no responsibility taken!).

Is there anything else you’d like to add?

To find out more, people can learn more about me at the Dr Jo Prendergast website or listen to me talking about the show here:

Where can patrons purchase tickets to this production?

Cancer And Cartwheels runs at the Adelaide Fringe from March 11th-15th, with show sessions commencing at 6:30 pm.

The show then goes on the road, travelling up the East Coast of Australia to Melbourne, Sydney and Brisbane for the following dates/times:-

  • Adelaide – 11th March to 15th March (6:30 pm sessions) – Book Tickets
  • Melbourne – 31st March to 6th April (5:45 pm sessions) – Book Tickets
  • Sydney – 26th April (5:15 pm) – Book Tickets
  • Brisbane – 17th May to 18th May (3:45 pm & 4:45pm) – Book Tickets

To learn more about Dr Jo Prendergast’s Comedy and other activities, please visit https://linktr.ee/joprendergast

About The Production – Angus Camerons Australian Open

Australian Open

Today, we had an About The Production discussion over Australian Open. This production is coming to the PIP Theatre in January courtesy of the production company 7th Floor Theatre. Australian Open, not to be confused with the actual Australian Open tennis tournament, is a fast-paced comedy about tennis and open relationships.

About Angus Camerons Australian Open

What is this Production about?

Australian Open is a play about tennis and open relationships. It’s a hilarious ensemble piece that uses witty dialogue to challenge societal norms whilst championing queer culture.

What character are you playing, and what can you share with us about them?

I am understudying the role of Belinda as well as the Assistant Director.

Why did you want to be involved in this production?

I first became involved with 7th Floor Theatre through their weekly moved play reading series, Pot Luck Plays, and things evolved from there.

What will the audience be thinking about in the car as they drive home after this show?

I hope it will start conversations around open relationships. I identify as ENM (Ethical Non-Monogomous) which includes open relationships. I’m really excited to be part of a play that asks those kind of questions, and I’ve been enjoying chatting to the cast about it. The ENM world still faces a lot of discrimination.

What’s going to surprise people about this show?

People are going to be surprised just how funny this play is!

Where can patrons purchase tickets to this production?

Australian Open runs from January 8th to 18th, 2025. There are 7:30 p.m. shows from Wednesday to Saturday, and 2 p.m. matinee shows each Saturday.

To book tickets, please visit:- https://piptheatre.org/australian-open/

Other production interviews can be viewed in our About The Production Series.

Meet The Performer – Ellen Hardisty

Ellen Hardistry

Today, we had a Meet The Performer chat with Ellen Hardisty. Ellen will perform in Australian Open, which will come to the PIP Theatre in January courtesy of production company 7th Floor Theatre. The Australian Open, not to be confused with the actual Australian Open tennis tournament, is a fast-paced comedy about tennis and open relationships.

About Ellen Hardisty

What do you enjoy most about acting?

I love discovering different parts of myself and different ways of understanding the world that come from immersing myself in a new character. I love sharing stories and building community and asking the big questions and making people laugh.

What productions have you acted in before?

I have toured theatre around Europe – 6 shows in Rep!

What has been your favourite role so far in your career?

Playing Rosencrantz in Rosencrantz and Guildenstern are Dead for the Queensland Shakespeare Ensemble.

Do you believe talent or training is more important to an actor?

Acting is a mixture of craft and art. The craft of acting takes practice and training. The art of acting takes imagination and inspiration and bravery.

What do you think can make a role challenging?

I love challenging roles where the character’s experience is very different from my own life experience, and the depth of research that goes into these roles.

What do you think makes a performance most believable?

An actor having a thorough understanding and connection to their character, the story, and the world of the play.

Where can patrons purchase tickets to see your performance?

The Australian Open runs from January 8th to 18th, 2025. There are 7:30 p.m. shows from Wednesday to Saturday and 2 p.m. matinee shows each Saturday.

To book tickets, please visit:- https://piptheatre.org/australian-open/

Other interviews can be viewed in our Meet The Performer Series.

Prima Facie: An Intense and Thought-Provoking Journey

Prima Facie

Prima Facie Rating

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Prima facie—a Latin phrase meaning “at first sight” or “based on first impression”—is used in civil and criminal law to denote that a legal claim has sufficient evidence to proceed to trial upon initial examination.

Prima Facie opens with defence barrister Tessa Ensler (played by Sophia Forrest) confidently sauntering onto the stage, ready to tackle her latest court case. Tessa is in her element, prepared to interrogate and break down her witness, determined to continue a several-month winning streak. The script voices Tessa’s inner thoughts, providing a blow-by-blow account of her strategies and tactics. We learn that her impressive win streak includes several sexual assault cases.

The dialogue in this one-woman show utilizes Tessa’s internal monologue throughout, allowing us to follow her journey intimately. Through Tessa’s thoughts, we meet the significant people in her life and experience the play’s events. Sound effects skillfully enhance the emotional depth of the opening scene, conveying an additional current to Tessa’s thoughts and underlying emotions, allowing the audience to connect with her immediately.

As the play progresses, Tessa’s seemingly upward journey is disrupted by an event that leaves her questioning everything she knows. Her previously slick demeanour gives way to confusion and vulnerability, depicting the emotional turmoil of seeking justice and needing to be believed. The play explores the toll on her personal and professional life as she grapples with shattered illusions and seeks justice. Has she been unfair in her past treatment of victims in court interrogations?

What will the aftermath of this event mean for her? Will she be believed? Will justice be served? Will the perpetrator walk free? Will her voice be heard?

Congratulations must go to the production team for compiling a finely-tuned show. The set, costumes, sound, and transitions blend together seamlessly. The large stage is cleverly utilized, with versatile wooden boxes transforming into various props for each scene. The backdrop shifts smoothly, with a revolving stage component used cleverly in scene transitions, depicting locations from courtrooms to nightclubs. Visual media elements add tension at critical moments, offering visual insights into Tessa’s inner journey and effectively depicting time shifts in the play’s action.

  • Director: Kate Campion
  • Set Designer: Bruce McKinven
  • Set Realizer: Andy Cross
  • Costume Designer: Lynn Ferguson
  • Lighting Designer: Peter Young
  • Composer & Sound Designer: Melanie Robinson
  • Audio Visual Designer: Jessica Russell

Sophia Forrest’s outstanding performance anchors this intense one-woman show. Forrest adeptly portrays multiple roles, guiding the audience through Tessa’s transformation from a confident lawyer to a victim seeking redemption. Through the internal monologue, she effectively embodies the slick lawyer, interrogator, interrogatee, victim, daughter, sister, judge, and judged.

Enough credit cannot be given to Sophia Forrest for the remarkable effort in tackling the immense content of the role with skill and finesse. One can only imagine(shudder at) the mountains of preparation required to portray this role so successfully. A shoutout to understudy Holly Easterbrook, who must also have undertaken a similar journey in terms of effort and preparation.

The play’s heavy themes are thought-provoking and resonate deeply. You won’t necessarily leave the theatre with a light heart, but you will leave with plenty to think about, having witnessed a first-class production.

Prima Facie runs at the Heath Ledger Theatre from July 1 to July 21. Tickets range from $30.00 to $139.00.

The show lasts one hour and forty minutes without an interval. Content warnings include strong themes of sexual assault, coarse language, and the use of haze and smoke effects.

Photographer Credit: Daniel J Grant

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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