Love and Information: A Joyous Exploration of Tiny Moments

Love and Information

Love and Information Rating

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Love and Information at Theatreworks offers a joyous, fast-paced journey through a series of micro-moments that illuminate the many facets of human connection. Under the vibrant direction and choreography of Belle Hansen, this production presents a kaleidoscope of vignettes, each one a tiny window into love in its countless forms: between parent and child, siblings, romantic partners at the beginning or end of a relationship, and even the more abstract, conceptual experiences of love. The result is an adventurous theatrical experience that feels both immediate and expansive.

From the moment the lights rise on Harry Gill’s cleverly designed set, rotating pieces transform with ease and projections of bright blue skies and puffy clouds by Hannah Jennings sweep the audience into a world that is as visually inventive as it is emotionally resonant. Sidney Younger’s lighting design bathes each scene in a warm palette, underscoring tenderness or tension as required. At the same time, Jack Burmeister’s sound and composition evoke the golden age of Hollywood with music inspired by Gershwin. At times, the soundtrack dances alongside the action, punctuating moments of tenderness or humour and making the transitions between vignettes feel seamless.

The cast is a diverse ensemble—Junghwi Jo, Iopu Auva’a, Jane Edwina Seymour, Jack Francis West, Charlie Morris, Felix Star, Emma Woods and Sean Yuen Halley—who bring these snapshots of life to vivid, often playful reality. There is an energy onstage that feels akin to actors exploring a Meisner exercise: words float above the subtext, and true meaning emerges from silent exchanges, body language and emotional undercurrents. Each performer embraces that challenge, allowing humour, heartbreak and wonder to coexist within a few lines of dialogue.

It is apparent that collaborative work between the director and actors was central to the rehearsal process, and moments of genuine spontaneity lit up the stage.

Movement and choreography are integral to this production. The actors flow across the stage, interacting with set pieces, props and each other in ways that feel organic. Choreographed movement ranges from subtle shifts in posture to more overt group sequences that push the action forward. The rotating set becomes a character in its own right.

Costume design by Harry Gill is a highlight: the soft, inviting palette feels both lush and approachable. Each colour choice seems deliberate, through oranges, blues and earth tones that mirror the emotional tenor of each vignette. The textures of fabric invite the audience into a human, tactile world. The actors’ wardrobes become an extension of emotional colour, visually echoing the subtext beneath their brief but potent scenes.

If there is one area where a gentler touch might allow the emotional truth to breathe even more, it is during the second half of the show. As the pace quickens and the stakes rise, certain confessions or confrontations feel rushed, as though the performance is intent on maintaining momentum rather than lingering in nuance. A few extra beats here or there, just a fraction of pause, could allow subtle shifts in expression or tone to blossom more fully. That being said, the ensemble remains fully committed, and any sense of haste never feels careless or rushed.

Overall, Love and Information is an inspiring theatrical adventure that marries inventive design, spirited performances and moments of genuine emotional resonance. Belle Hansen and her creative team have delivered a production that celebrates the beautiful complexity of human relationships. Theatreworks provides the perfect intimate setting for these fleeting stories to land with impact. If you have ever wondered how a few lines of dialogue can carry an entire universe of feelings, this is the show to catch. I wholeheartedly encourage everyone to experience this vibrant, daring exploration of love at TheatreWorks.

To book tickets to Love and Information, please visit https://www.theatreworks.org.au/2025/love-and-information.

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Event Review: The Bubbles Festival – Melbourne 2025

The Bubbles Festival

The Bubbles Festival Rating

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Few things are more delightful than a glass of sparkling wine enjoyed riverside. The Bubbles Festival delivered exactly that and more at this year’s Melbourne session at the stunning River’s Edge in Docklands.

The atmosphere was elegant without being stiff, with floor-to-ceiling windows overlooking the Yarra and the golden glow of autumn light. This wasn’t a crowded scramble for samples but a perfectly paced event where guests could relax, discover, and indulge.

Founder Natalie Pickett opened the event with warmth and wit, reminding us that sparkling wine is beautiful and should be enjoyed with all the senses. Her tasting tips were charming and personal: listen to the bubbles, take in the aroma, and always pair with food. The canapés were curated accordingly, with a seafood station offering plump prawns, fresh oysters, mussels, and calamari and a generous cheese station of soft and hard cheeses. Additional bites roved the room, matching the mood and the wine effortlessly.

On the tasting front, the festival truly delivered on its promise of diversity. There was something for every palate, with around 18 different wines available — including French Champagnes, Italian sparklings, and standout Australian drops from the Yarra Valley, Great Western and Mornington Peninsula. A personal highlight was the Flinders Bloom Elderflower Spritz, inspired by the classic Hugo. Light, floral, and utterly refreshing, it combined méthode traditionnelle sparkling wine with lemon myrtle and elderflower for what can only be described as springtime in a glass.

VIP guests were treated to a tasting of Champagne Philippe Fourrier Millésime 2017 Blanc de Noirs, a refined pinot noir as elegant as the event itself. With a private tasting, RIEDEL glasses to take home, and a charitable contribution to Sacred Heart Mission.

Beyond the wine, guests could browse and purchase Susan Kerian’s gorgeous Parisian-style illustrations, a lovely visual complement to the day.

If you’re a sparkling lover, this event isn’t just worth attending — it’s essential. Whether you’re discovering a new favourite Prosecco or sipping vintage Champagne, The Bubbles Festival is a celebration in the truest sense.

Visit The Bubbles Festival website to book tickets and discover more about each city’s event; dates for 2025 are:
Melbourne – 3 May 2025
Brisbane – 9 & 10 May 2025
Sydney – 16 & 17 May 2025
Adelaide – 31 May 2025
Perth – 21 June 2025

To book tickets to The Bubbles Festival, please visit https://thebubblesreview.com/the-bubbles-festival/.

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Hysteria – A Thriller That Burns Through the Lies

Hysteria

Hysteria Rating

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The German Film Festival previewed at Palace Cinemas with the Australian première of Mehmet Akif Büyükatalay’s Hysteria. This 104-minute political thriller left the crowd hushed and visibly rattled on the way out. On a film set that unravels after a burned Quran is discovered, Hysteria is equal parts whodunnit, social essay, and psychological pressure cooker.

Büyükatalay wastes no time striking the match. When the sacred text is smouldering among the props, blame ricochets between the director, the star, a slippery producer and a van-load of asylum-seeker extras. Class, faith and power lines are drawn in seconds; alliances fray just as quickly. This film proves you don’t need a big budget to create tension. The tension comes from the people, not the pyrotechnics.

One of Hysteria’s thrills (and frustrations) is its refusal to hand you a neat answer. Every scene forces you to ask: whose version of events do I believe, and what does that say about me? Büyükatalay is less interested in solving the mystery than in showing how easily images of “the Other” override the human being standing before us. That makes for an unsettling watch, but it’s precisely the point. Cineuropa praised the film’s “important inquiry into the representation of migrant minorities”, even as it noted the narrative leaves viewers “confused”. Confusion about how you want the story to pan out and who turns out to be the protagonist and the antagonist.

As a 24-year-old intern, Elif Devrim Lingnau anchors the film with wide-eyed resolve that gradually hardens into fury. Refugee extra Said (Mehdi Meskar) and Director Yigit (Serkan Kaya) spar with her in tightly coiled exchanges that feel one breath away from violence. Nicolette Krebitz steals scenes as a calculating producer who knows exactly how far an image can travel once uploaded. The casting is strong, there are no weak links.

The use of close-ups in Hysteria traps the audience inside green-screen warehouses and cramped caravans. The pacing is fast; the 104 minutes fly by. Cinematographer Julian Krubasik ensures we feel connected to every character in every shot.

This film may leave you feeling cold if you love films that end all tied up neatly with a little bow. Hysteria is a must-see for viewers who relish cinema that sends them out into the foyer to debate morality, identity, and media manipulation. Behind every flame lies a darker truth.

Büyükatalay’s sophomore feature doesn’t just hold up a mirror; it shatters it, then asks us to pick up the shards and see which reflection we choose. Catch it while the German Film Festival programme runs nationwide, and check session times via the Palace Cinemas website. Take a friend; you’ll need someone to argue with on the tram ride home.

The HSBC German Film Festival presented by Palace runs from 2 May – 21 May, in association with German Films. In 2025, the festival will showcase the best contemporary German cinema direct from major festivals in Europe, plus a selection from its German-speaking neighbours, Austria and Switzerland.

To book tickets to Hysteria, or for date and session information for any other films in the festival, please visit https://germanfilmfestival.com.au/.

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Review: Melbourne Writers Theatre presents Lyceum Highway and Metropolis Monologues

Lyceum Highway and Metropolis Monologues

Lyceum Highway and Metropolis Monologues Rating

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3

If you’re searching for an evening of new theatre that allows you to champion emerging artists and writers while enjoying captivating performances, look no further than the Melbourne Writers Theatre’s presentation of Lyceum Highway alongside the Metropolis Monologues. Staged at the The Stables @ Meat Market, this combined offering of a one-act play and monologue showcase runs for approximately two hours and thirty minutes, allowing audiences to see fresh works in a cosy and intimate setting.

Lyceum Highway is written by K V Adams, directed by Brooke Fairley, and performed by Laura Iris Hill (as Maggie) and Kevin Dee (as G). It’s a compelling one-hour piece delving into themes of redemption, recovery, forgiveness, and personal growth. The story unfolds on a road trip, with Maggie picking up G, a mysterious hitchhiker who may or may not be who he claims to be. Hill’s portrayal of Maggie is simultaneously fragile and bold, showing a character who’s both wounded and healing, and the emotional journey she takes us on is genuinely gripping.

Kevin Dee’s G provides a contrasting energy; his calm insight anchors Maggie as she confronts her past, and their rapport is palpable, carrying the audience through moments of tension, humour, and heartfelt connection. The clever use of projections designed by Minty Hunter and sound design by John Jenkin works seamlessly to enhance the road-trip vibe, transporting viewers to shifting landscapes and emotional states. The production team collaborated to create a cohesive and visually engaging show. Producer Clare Mendes should be commended for bringing this new work to the stage.

On the evening I attended, five monologues were featured as part of the Metropolis Monologues: The Night Market by Gary Helmore performed by Mark Opitz, The Most Alive Part of Me by Peter Farrar performed by Amir Rahimzadeh, Off the Grid by Marie Collie performed by Katrina Mathers, Snakes and Ladders by Donna De Palma performed by Janine McGrath, and Till Death Do Us Part by Louise Hopewell performed by Nick Steain.

Each piece explores how a place, real or metaphorical, shapes personal experiences. Whether it’s a literal market or an abstract emotional space, these short pieces emphasise the power of location in uncovering what makes us vulnerable, determined, or reflective. Seeing different writers and actors unite to bring these stories to life highlights how monologues can offer an intimate theatrical experience.

A Triumph for Emerging Voices: Melbourne Writers Theatre has curated an event with energy, creativity, and promise. From the reflective depths of Lyceum Highway to the variety of voices in the Metropolis Monologues, this is a perfect example of how we, as theatre lovers, can support new work and help local writers and performers refine their craft. The Meat Market’s small and intimate setting of the The Stables @ Meat Market draws the audience closer to the performers, allowing for a deeper emotional connection.

If you’re interested in seeing new Australian theatre develop before your eyes—and enjoying a fulfilling evening of storytelling—this production is well worth your time. The passionate performances, skilful direction, and inventive writing offer a memorable night. Above all, Lyceum Highway and Metropolis Monologues are a powerful reminder of the creative talent blossoming in our community and the importance of supporting artists.

To book tickets to Lyceum Highway and Metropolis Monologues, please visit https://meatmarket.org.au/event/lyceum-highway-metropolis-monologues/2025-03-16/.

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