Colin Ebsworth’s show at the Melbourne Fringe Festival was held at the Trades Hall, the festival’s bustling hub. The show, titled Colin Ebsworth – Me, My Cult & I, takes the audience on an intense, multi-layered journey through Ebsworth’s life, family, and the cult that brought them together.
Ebsworth was raised in a South Korean-led religious movement, the Unification Church, commonly called the Moonies. In the 1980s, Reverand Moonie, a man who claimed to be the reincarnation of Jesus Christ, married Ebsworth’s parents at a mass wedding in Madison Square Garden. From this extraordinary beginning, Colin unfolds a complex and deeply personal story.
With a mix of rapid-fire storytelling, music, and a PowerPoint presentation, Ebsworth passionately recounts growing up in a cult and grappling with undiagnosed ADHD. There’s a lot to unpack here, and while the show was sometimes overwhelming with its myriad storylines, it was also packed with poignant moments and humour.
Ebsworth’s narrative darts between his parents’ arranged marriage, their move from the US to Australia, and the emotional isolation they experienced due to the cult’s restrictive nature. The disconnection from his father’s family in Perth because they weren’t part of the church added layers of complexity to the story.
The show isn’t just about the cult, though. It’s about belief systems, family dynamics, and the ongoing search for identity and hope.
Ebsworth’s delivery is fast-paced and almost breathless, and as an audience member, you need to be fully attentive or risk missing important details. It’s a challenging ride that feels meaningful, as different sections of the story will resonate with different people. The overarching theme does emerge: while we can’t undo the past, we can still move forward.
There’s no doubt that Colin is a gifted storyteller. Still, his choice to cover so many intricate layers made it hard to resolve everything cleanly. That said, his passion and energy kept the audience engaged throughout. It’s the kind of show that leaves you with much to think about and will spark conversation afterwards. I’d like to see how this performance evolves in the future as Colin continues to live and tell his story.
Overall, it’s an insightful and enjoyable show full of witty observations and heartfelt reflections. It’s definitely worth checking out if you enjoy performances that make you think and challenge your perceptions.
Trust emerges as a standout film for this year’s St ALi’s Italian Film Festival, running nationwide at Palace Cinemas from September 18 to October 23. It invites viewers into an intricate psychological drama where love and fear dance together in a narrative that is as gripping as it is thought-provoking. Directed by the award-winning Daniele Luchetti and based on Domenico Starnone’s novel Confidenza, the film delivers an exploration of human emotion that lingers long after the credits roll.
The central figure in Trust is Pietro (Elio Germano), a well-respected teacher beloved by his students and admired by his peers. His reputation, built on his progressive pedagogical philosophy that affection trumps fear to inspire students, casts him as a pillar of his community. This idea of the “pedagogy of affection” becomes a thematic thread throughout the film, highlighting Pietro’s compassionate and encouraging nature. He’s the antithesis of the authoritarian teacher, choosing love over the fear of failure to guide his students toward their best selves. This progressive approach resonates with audiences, especially considering its relevance in the 1980s and ’90s when the film was set.
But a darker truth lies beneath Pietro’s moral righteousness and public adoration. His life takes an unexpected turn when he rekindles a relationship with a former student, Teresa (Federica Rosellini), one of the brightest minds he ever taught. After they meet again, Teresa confronts Pietro with a profound and unsettling declaration—she has always known about his affection for her, an affection he can no longer deny. Though the two begin a relationship, their dynamic becomes fraught with complexity and tension.
What starts as a seemingly genuine romance soon unravels into an obsessive and destructive bond. Teresa becomes aware of Pietro’s most closely guarded secret, a revelation that binds them together in a way that is almost stronger than love—through fear. The power of this secret is so immense that it threatens to undo the very foundation of their relationship, raising a central question that permeates the entire film: Is love more powerful than fear, or do these two emotions inevitably co-exist in a relationship built on vulnerability?
Luchetti masterfully plays with these concepts of love, fear, and honesty throughout the film. His direction ensures that the audience is never too comfortable, always wondering whether the bond between Pietro and Teresa is driven by genuine affection or by the terror of having their deepest fears exposed. The result is an exploration of how once-shared secrets can become weapons, altering the course of a relationship forever.
While Trust succeeds in exploring these weighty themes, there are moments when the film falters. Certain scenes feel unnecessarily drawn out, adding little to the overall narrative and making the film feel longer than its runtime suggests. As a thriller, Trust sometimes lacks the tension necessary to keep audiences on the edge of their seats, leaving a few key moments feeling flat. These pacing issues could have been addressed with tighter editing, which might have sharpened the film’s focus.
Despite these minor flaws, the performances are nothing short of extraordinary. Elio Germano delivers a nuanced portrayal of Pietro, a man whose inner turmoil is constantly simmering beneath his calm exterior. His ability to convey vulnerability and authority makes his character a fascinating study in contradiction. Federica Rosellini is equally impressive as Teresa, her performance embodying a mixture of longing, manipulation, and pain. Together, they create a volatile and captivating dynamic that anchors the film.
The supporting cast, including Vittoria Puccini as Nadia and Pilar Fogliati as Emma, adds further layers of complexity to the story. Isabella Ferrari’s portrayal of Tilde provides a sense of groundedness amidst the chaos of Pietro and Teresa’s relationship. Each performance enriches the film, allowing the audience to explore different facets of Trust, fear, and human interaction.
Ivan Casalgrandi’s cinematography elevates the emotional tone of the film. His use of shadows, light, and shots peering through windows door creates an atmosphere of quiet tension, echoing the characters’ internal battles. The set and costume designs also reflect the 1980s and ’90s setting, giving the film an authentic feel without distracting from the central narrative.
One of the standout aspects of Trust is Thom Yorke’s haunting score. Known for his ability to craft music that evokes deep emotion, Yorke’s contribution here is no different. His atmospheric soundscapes underscore the tension and emotional weight of the film, drawing the audience deeper into the story without overwhelming the performances. The themes of Trust are universal and timeless, making the film deeply relatable for audiences of all backgrounds. At its core, the film asks whether honesty, when laid bare, can strengthen or destroy a relationship. Can love survive when fear takes hold, or does fear inevitably erode Trust? These are the questions Luchetti leaves audiences grappling with, and their unresolvable nature is what makes Trust such an impactful film.
As the premiere film of the St ALi’s Italian Film Festival, Trust sets the tone for a fantastic lineup of Italian cinema. It challenges viewers to think deeply about the nature of human relationships, leaving them with more questions than answers, which is often the hallmark of a truly great film. Despite a few pacing issues, Trust succeeds as an emotionally resonant and visually arresting exploration of love, fear, and the secrets we hide from each other—and ourselves.
Film Review: Trust (2024) Directed by Daniele Luchetti Starring: Elio Germano, Federica Rosellini, Vittoria Puccini, Pilar Fogliati, and Isabella Ferrari Based on the novel Confidenza by Domenico Starnone Original music by Thom Yorke
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.
The Victorian Opera’s production of “La Rondine” (“The Swallow”), written by Giacomo Puccini, was an incredible experience. This production featured the remarkable Australian opera singer Kiandra Howarth, who has not performed in Victoria for a long time. It is a special occasion as her 94-year-old grandmother will attend both of her performances to see her perform for the first time.
Kiandra Howarth played Magda, the titular swallow, and she was phenomenal. An Australian lyric soprano, her voice and acting were impeccable. Howarth graduated with a Bachelor of Music from the Queensland Conservatorium of Music in 2010. She then became a company artist at Opera Australia and is currently with the Staatsoper Hannover. Her portrayal of Magda was genuinely captivating.
Another principal character, Lisette, Magda’s maid, was played by Nina Korbe. An award-winning soprano, Korbe has appeared in Opera Queensland’s productions of “La Bohème,” “Die Fledermaus,” “Il Barbiere di Siviglia,” “Peter Grimes,” and Verdi’s Requiem. She has also performed as a soloist with Camerata – Queensland’s Chamber Orchestra, Queensland Ballet, Southern Cross Soloists, and the Goldner String Quartet. Korbe, a proud Koa Kuju Yanlaji Waka Waka woman, champions Indigenous voices and brings depth, humour and charm to her role as Lisette.
Won Whi Choi played Ruggero, the main love interest in “La Rondine.” Choi’s lustrous voice, elegant musicianship, and sensitive artistry have captivated audiences worldwide. He made his Metropolitan Opera debut in 2020 as Alfredo in “La Traviata” to rave reviews. He was set to return for productions of “Maria Stuarda” and “Les Contes d’Hoffmann.” Choi’s performance in this production was no exception; his portrayal of Ruggero was heartfelt and powerful.
The production itself was a unique blend of elegance and simplicity. The sets, with their stunning design, evoked a modern Paris that seemed to exist outside of time. The characters, dressed in contemporary styles that seamlessly melded elements from the 1950s to the 1990s, added a unique charm to the performance.
Attending a production at the Palais Theatre in St Kilda is always a mesmerising experience. The grandeur of the building, with its chandeliers, grand Art Deco architecture, and beautiful marble staircases, is awe-inspiring and complements the grandeur of the opera. It’s a stunning space that marries well with the art form, leaving the audience in awe.
One of the delightful aspects of Puccini’s work is his probable origination of the ‘meet-cute’ trope. ‘La Rondine’ revolves around love, set in a Paris where women dream of meeting a lover who completes them. The opera featured a classic meet-cute scene: a woman in a bar, pursued by multiple men, sits down with a lone man, pretending to meet him, causing the other suitors to leave. This charming trope, now a staple in Hollywood films, was delightful to see in its original form, entertaining the audience.
Puccini’s music, full of cascading trills and beautiful melodies, feels cinematic. His work often feels like classic Hollywood yet is timelessly modern, with sweeping, love-filled narratives. This production of “La Rondine” was a testament to his genius, a fantastic blend of music, narrative, and performance.
The Victorian Opera’s “La Rondine” was a truly outstanding production. With stellar performances by Kiandra Howarth, Nina Korbe, and Won Whi Choi, supported by elegant staging and the enchanting atmosphere of the Palais Theatre, it was an unforgettable experience that showcased the timeless beauty of Puccini’s work.
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.
Attending the latest production of “The Exotic Lives of Lola Montez” at Chapel Off Chapel was an exhilarating and unforgettable experience. This show is a kaleidoscopic journey through the life of one of history’s most controversial and audacious women, brought to life by an all-female presenting cast.
The performance is a brilliant blend of fantastic singing, ranging from Broadway show tunes to opera and everything in between. It also includes burlesque dancers performing classic fan dances to full-frontal nudity, showcasing a spectrum of artistry and boldness.
The show is a highly feminist work, written and directed by women, and it tackles numerous significant questions relevant during Lola Montez’s time and today. Lola’s assertion that her body was her own and belonged to no one else remains a powerful statement in the current context.
Caroline Lee, a triple Best Actress winner and a direct descendant of Lola Montez herself, delivers a stellar performance. She expertly portrays a woman living life on her own terms in a time when women had limited choices. The narrative delves deep into what it means to live a life defined by one’s own desires and terms, questioning the value of a life lived outside societal norms.
The storyline beautifully intertwines Lola’s life with the historical context of Victoria and Melbourne, referencing artifacts that can still be seen in the National Gallery of Victoria. One notable episode from Lola’s life that is vividly depicted is her infamous horsewhipping incident involving the editor of the Ballarat Star. This event, among many others, is recounted with both humour and drama, creating a captivating narrative.
The show also features burlesque performances that range from historical references to modern interpretations, including a male performer stripping down to a single piece of tape, leaving the audience in suspense. This daring and unapologetic approach is a recurring theme throughout the show, making it both provocative and thought-provoking.
Despite a few minor hiccups, such as occasional line drops by the performers, the overall experience was incredibly enjoyable. The production’s raw honesty, combined with its mix of storytelling and sensual performances, makes it a must-see.
Don’t miss out on this incredible performance that celebrates the life and legacy of Lola Montez in the most spectacular and unapologetic fashion.
**Performance Details:**
**Dates:** 21 – 30 June
**Times:**
Friday 21 June, 8pm
Saturday 22 June, 8pm
Sunday 23 June, 6pm
Wednesday 26 June, 8pm
Friday 28 June, 8pm
Saturday 29 June, 8pm
Sunday 30 June, 6pm
– **Tickets:**
$88 Table Seat*
$48 Standard
$38 Concession
$38 Groups 6+
**Duration:** 80 minutes (no interval)
**Contains:** Theatrical haze, coarse language, nudity, and lots of dancing. Suitable for ages 15+.
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.
