Dance Nation: A Provocative and Adrenaline-Driven Dramedy

Dance Nation

Dance Nation Rating

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3

Brisbane’s West End is pulsating as a capacity crowd converge upon Metro Arts Centre for Dance Nation, the latest offering from THAT Production Company. How apt, in an area known for its vibrant, multicultural and artistic atmosphere, we are treated to such multifaceted and exhilarating production, which deftly fuses theatre and dance into drama and comedy. Dance Nation follows a teenage dance troupe who aim for bright lights and competitive glory, while negotiating the complexities of young friendship, ambition and self-negation – equally embodying hilarity, hope and even some horror in the process.

The plot centres around a group of mostly female 13 years-old dancers, preparing for a big contest – plied with pressure on their path to success and recognition. However, the competition does not start under the bright lights of centre stage; The dancers must first endure their team’s own internal casting and rehearsal process and preparations – balancing personal ambition against loyalty and obligation to others as they vie for a principal part, bearing pangs of guilt and envy respectively from those chosen – and those not, as friendships hang in the balance.

Notable tension arises dancers Amina and Zuzu, who are both friends and competitors within their team, pitted against each other by Dance Teacher, and arguable tormenter, Pat. Dance Teacher Pat’s presence is un-nurturing, and we feel concern for these young girls (and Luke) for the tough, borderline-abusive discipline he imparts on them – and for his unsupervised access to this young, mostly female team – wondering what else he might be capable of or encourage.

 

 

Two of the other girls, Connie and Ashley, experience a more overt experience as targets from misplaced, inappropriate male gaze – from an adult stranger they encounter while awaiting their ride home from practice. While all of these young characters show general bravado, sass and the typical curiosity about sexuality that begins around their age, we watch uneasily how these 13-year-old girls are perceived, rather than protected. We observe Zuzu as her attention is not toward the safer, age-appropriate object of affection – Morgan Francis’s sweet, sincere Luke – toward a far older man who exerts coercive control and manipulation against a group of pre-teens – namely, Dance Teacher Pat, played with conviction by Cameron Hurry.

While touching on darker themes, Dance Nation succeeds by avoiding any gratuity or monotony – and each of the ensemble and supporting dancers bring a dynamic layer to the story. Along with the more dramatic themes, notably exemplified by Jeandra St James, bringing soulful grit and trepidation as Amina, Carla Haynes with calm charisma and dignity as Zuzu, and Thea Roveanu’s contradicting yet truthful blend of vulnerability and aggressive self-protection as Ashlee – there are many hilarious comedic moments, in addition to sincere, affirming and visually stunning ones – which create many of the show’s highlights. Johanna Lyon is a particular standout as Sophia, with superb timing and creative, uninhibited comedic delivery. Aurelie Roque makes her numerous smaller roles big, with instinctive dexterity and playfulness. Jessica Veurman gives a versatile, grounded performance as supportive, quietly assured Maeve, while Janaki Gerard shines with fluid and graceful dance and charming expression as Connie.

All of the performers bring polished energy to an engrossing, balanced script. It takes a lot of preparation to look so effortless, executing creative, complex choreography with seamless energy, in addition to fine delivery of dialogue. The hard work pays off beautifully in Dance Nation, undoubtedly enabled through the efforts of THAT Production Company’s talented Creative Team, led by Director Timothy Wynn. In summary, Dance Nation is a provocative and adrenaline-driven dramedy, where every distinct aspect blends into a textured and highly entertaining whole. The full gamut of human emotion is traversed with humour and unnerving honesty, further punctuated by captivating movement, lighting and sound. Highly recommended.

To book tickets to Dance Nation , please visit https://www.metroarts.com.au/event/dance-nation/.

Photographer: Kenn Santos

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Takacs Quartet with Angie Milliken

Takács Quartet & Angie

Takács Quartet & Angie Rating

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2

The Concert Hall at QPAC is a superb venue for performances such as the Takács Quartet, with the majestic Klais Grand Organ with its 6,500 pipes creating a striking visual backdrop. Yet the quartet was never overshadowed by the gleaming pipes or warm wood tones; instead, all eyes and ears were firmly fixed on the stage.

Musica Viva marked its 80th birthday in consummate style, celebrating the collaboration between these distinguished musicians, composer Cathy Milliken, and her sister, AFI Award–winning actor Angie Milliken.

Formed in 1975 at the Franz Liszt Academy in Budapest, the Takács Quartet now features Edward Dusinberre and Harumi Rhodes on violin, Richard O’Neill on viola, and founding member András Fejér on cello. Associate Artists at London’s Wigmore Hall, they are currently touring Europe, including Amsterdam, Berlin, Florence, Bologna, and Rome. To hear them here in Brisbane was a rare privilege.

The evening opened with Haydn’s String Quartet in G minor, Op. 74 No. 3 ‘The Rider’ (1793). Across its four contrasting movements — from briskly energetic to gently lyrical — each musician’s artistry shone.

 

 

Musica Viva’s commission, Sonnet of an Emigrant by Cathy Milliken, set eight of Bertolt Brecht’s poems written during his exile from Germany in WWII. The work captured Brecht’s shifting emotions of shock, longing, urgency, reflection, and cautious optimism, weaving his words seamlessly with the quartet’s music.

Narrator Angie Milliken delivered Brecht’s sonnets in both English and German, her voice rising and falling in perfect counterpoint to the strings. Naming herself the “fifth instrument,” she embraced the intimacy and challenge of matching spoken word to musical intent.

The audience sat in rapt silence, spellbound by the performance. The marriage of poetry and music was so vivid that Brecht’s words felt almost tangible, as though the audience could both hear and see them.

After interval came Beethoven’s String Quartet in C major, Op. 59 No. 3 ‘Razumovsky’ (1808). Its movements ranged from stately and graceful to the exuberant, whirlwind finale (Allegro molto), played with astonishing verve.

Animated and passionate throughout, the Takács Quartet radiated their own delight in the music, and the audience shared in their exhilaration. For seasoned concertgoers and newcomers alike, this was a wonderful evening of world-class music-making. Brava!

To book tickets to Takács Quartet & Angie, please visit https://www.musicaviva.com.au/concert-season/2025/takacs-quartet-with-angie-milliken/.

Photographer: Cameron Jamieson

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Agatha Christie’s “A Murder is Announced” by the Villanova Players

A Murder Is Announced

A Murder Is Announced Rating

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6

Agatha Christie’s “A Murder is Announced”

The stage adaptation of one of “A Murder is Announced,” directed by Jaqueline Kerr, was performed by the Villanova Players on Friday. A wonderful portrayal of one of Agatha Christies most loved stories, brings back the beloved Mrs Marple and introduces various delightful and intriguing characters in the English Countryside. When a notification of a murder is printed in the local paper, everyone is curious to discover who and what will happen at 6:30pm that evening…

The stage was set in the sitting room of Miss Blacklock, carefully decorated with several armchairs, a loveseat and a small coffee table positioned center stage. The false walls were a sage green and were complimented by artwork hanging on the wall and two red doors. There was ample space for several actors on stage at one time, with no issues for blocking and good use of space. The furniture and props were thematically correct and welcoming.

Sound and lighting was fairly standard, involving a white light above the stage for most scenes. The scene where the announced murder occurs involved a sudden lowering of the light and a few flashes of light that sensitive viewers should be aware of. Prior to the performance, music aligning with the time period set the tone appropriately. The costumes suited each of the characters, aligning with the fashions of the time period. Makeup and hair were also notable, kept simple but gracefully complimented the female actresses.

 

 

The actors portraying Mrs Marple (Desley Nichols), Inspector Craddock (Leo Bradley) and Miss Blacklock (Phillipa Bowe) did exceptional in their roles, seamlessly committing to the dialogue and motivations of their characters. It was highly enjoyable to watch as they three of them interacted with one another as well as with characters such as Bunny (Lorraine Fox), Mitzi (Robyn Stumm), Patrick (Reece Milne), Julia (Isabella Stone), Edmund (Steven Eggington), Clara (Jill Cross) and Phillipa (Sioban Evans). The role of Rudy Shertz and Sgt. Mellors (John Evans) was also a good addition to the ensemble.

The style of dialogue, articulation and gradual defining of relationships between each of the characters seemed more than natural to each actor, making it very easy to apply praise for their great work in this production. Each scene cleverly directed and increasingly engaging to the audience. Many in the crowd audibly oohed and aahed at each new development, as a new secret was revealed and the plot thickened.

Because of their rousing performances (along with the director’s attempt to engage the audience with an opportunity to guess the murderer prior to Act 1), it was a thoroughly enjoyable evening for all who attended. All in all, a highly recommended whodunit that will keep you guessing until the end!

To book tickets to A Murder Is Announced, please visit https://www.villanovaplayers.com/plays/a-murder-is-announced.

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Veronica’s Room: A Compelling And Unmissable Dark Drama

Veronica's Room

Veronica’s Room Rating

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5

As New Farm Nash Theatre’s penultimate production for 2025, Veronica’s Room invites us into an off-kilter world of imagination and manipulation, uncertain whose lens we view through, that blurs boundaries between sense and psychosis, understanding and identity. The evening begins innocently enough, after a chance meeting between a seemingly kindly older couple with a younger pair, which leads them all to Veronica’s Room. The Woman (Ellie Bickerdike) and The Man (John Stibbard) remark on an uncanny resemblance between The Girl (Al Bromback) and the late Veronica, who passed away some 35 years prior; The Girl and her date The Boy (Alex Thompson) agree to join the older couple to see a photograph of her doppelganger, ultimately agreeing to take part in a well-intended deception, where The Girl will pretend to be Veronica for the comfort of Cissie, Veronica’s elderly, bewildered and terminally-ill sister.

However, day turns to nightmare quickly thereafter, and no good deed goes unpunished as the cast guide us with deft duplicity through a complex, confronting and callous plotline; We soon learn the pretence behind the invitation is misleading, and that The Girl’s performance of Veronica is not intended for the audience she expected; We then question whether or not there is any performance, given her dates’ earnest confusion and concern, as he offers a very different ideation of their acquaintance, challenging concepts of self, sanity and subjectivity.

 

 

Al Bromback is beguiling as The Girl, bringing a natural presence, crystalline diction and an impressive inclination for accents, to a very sympathetic and fluid character portrayal. As the Woman, Ellie Bickerdike is agile and tenaciously terrifying in a character of derailed deviance, reminiscent of Kathy Bates’s iconic portrayal of Annie Wilkes in the film Misery. John Stibbard offers fine range as The Man, caustic and leering but with perhaps an ambivalent semblance of conscience, too. Alex Thompson brings nuance and skittish subtlety to his performance as The Boy, thus making his character’s ultimate revelation even more chilling.

We are unclear which side of the locked door The Man and The Boy are on; Are they complicit conspirators, or pawns to this perversity? No easy answers are given, with the fantasy maintained until the end, where the cast forgo the traditional curtain call for a final look at the audience still in character, sending us away with unbroken sense of suspense and unease.

An admittedly dark and disturbing drama, Veronica’s Room marks another creative triumph for New Farm Nash Theatre, and a most successful foray by Director Susan O’Toole Cridland away from her recent theatrical diet of comedy and farce. As a whole, the production delivers in abundance, complementing the Theatre’s thoughtful and eclectic 2025 lineup, with themes as compelling as they are creepy. A challenging, uncomfortable, unmissable experience.

To book tickets to Veronica’s Room, please visit https://nashtheatre.com/play-3-2025/.

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