I Can See You, I Can Hear You – But You Are Not Real

Anthropology by Lauren Gunderson

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What happens when AI and humans combine, who/what is controlling the other.

Anthropology is an ancient science that investigates human diversity, evolution, and social life to understand the “big picture” of what it means to be human.

While theoretical foundations and ideas regarding “thinking machines” existed earlier, the term “Artificial Intelligence” was coined and adopted during a workshop at Dartmouth College in the summer of 1956.

Lauren Gunderson’s Anthropology first premiered September 2023 in Hampstead, England. The American Playwright has a string of popular plays doing the rounds including comedies The Book of Will and The Revolutionists. This however is not a comedy.

When we think of AI we are all familiar with the imagery we can create, and chatbots that interact with us (some even make sense). We watch CSI and Bones; we marvel at the technology they expose us to.

But what about creating a program to mimic loved ones so you can still talk to them and they talk back. Even when they are gone.

 

 

This is a play about a tech genius, a missing presumed dead sister, an ex-girlfriend and an emotionally absent mother. It is full of twists and turns, teetering on the brink of despair and then a landslide back to reality.

Firstly, let me say the set was tremendous and deserves the Matilda this year – designed by Freddy Komp who also brought the computer screens to life. The surreal set had a large corner desk with “working screens” and a functional living room space. The giant screen that seemed to dominate over the room played an important role in bringing the character Angie to life. Simple entrances via the black curtains at the side allowed the actors to enter and exit as if a doorway did exist.

Caroline Sparrow played the tech savvy older sister Merril, of missing teen Angie played by Rose Traynor-Boyland. A tense, distraught character whose grip on reality was slipping. Caroline was able to make this character both vulnerable and strong. The interaction between the onscreen Angie and the distraught Merril was heartbreaking to watch. Angie taunted Merril playing on her emotions while presenting as an AI Chatbot. The switching of characterizations by Rose was seamless. The ex-girlfriend, Raquel played by Vivien Whittle was a perfect choice as the warm voice of reason and human touch to ease Merril away from technology and back to a type of normality and this interplay also gave the audience a break from the tension. Sherri Smith, as the mother gave a believable version of an erratic reformed addict who was emotionally unstable.

The director Nicky Whichelow has brought together an excellent cast and certainly created an excellent piece of theatre. The production was slick, with a marvellous set that complemented the talented cast.

The crew of Zoe Power- sound, Geoff Squires- lights and Hazel Evans as SM, are also to be congratulated for the behind scenes work that helped give this show polish.

While this drama/mystery will appeal to a wide audience if you are a fan of any of the American Missing person/Crime TV shows you will certainly appreciate this work of live theatre.

Running at PIP Theatre, Milton until 2nd May, tickets https://piptheatre.org/2026-anthropology

To book tickets to Anthropology by Lauren Gunderson, please visit https://piptheatre.org/2026-anthropology/.

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The Bubbles Festival 2026 – Nationwide

Feature-The Bubbles Festival 2026 - Nationwide

The Bubbles Festival – a celebration of all things sparkling – is back in 2026! The Festival is organised by The Bubbles Review, a multi-award-winning blog and website devoted to the enjoyment of drinking champagne and sparkling wine.

Launched in October 2016 by Melbourne based entrepreneur and international best-selling author Natalie Pickett, The Bubbles Review shares information on the people, history, tasting, techniques of making champagne and sparkling wine and creates courses, events and tours so that our followers can join us and indulge. Our immensely popular blogs on Aussie sparklings really struck a chord, and it brought about the concept of launching The Bubbles Festival featuring a range of sparkling wines all in one boutique event.

The inaugural Bubbles Festival was held in Melbourne in April 2017, and after responding to demand to take the event to other states, since 2021 the festival has been cemented in the events calendar as a national series catering to sold out audiences across the country. We are excited to be sharing the bubbly love once again – The Bubbles Festival will be held in Melbourne, Brisbane, Sydney and Adelaide in 2026.

Patrons purchase a ticket for a two-hour session which includes a chance to meet and engage with producers and distributors of sparkling wine and champagne, and enjoy bubbly tastings, paired with canapés, all at one stylish event. (A VIP upgrade can also be purchased giving extra bonuses and access to a special tasting. $5 from every VIP ticket is donated to our chosen charity in each city.)

Natalie Pickett, the Founder of The Bubbles Review provides an introduction on tasting appreciation. A RIEDEL Champagne tasting glass is given to each attendee, and a curated list of 10 or more tastings of sparkling wine are provided along with canapés and tasting notes.

Tickets are $139 + Booking Fee via Eventbrite

Details for all events are:
Melbourne at Rivers Edge Events Melbourne – 2 May 2026
Brisbane at the Great Hall, Hills of Rivermakers – 8 & 9 May 2026
Sydney at the Royal Automobile Club of Australia – 22 & 23 May 2026
Adelaide at Ayers House – 6 June 2026

For more information, visit: https://thebubblesreview.com/the-bubbles-festival/

Natalie says “I think that champagne and sparkling wine are one of the joys of life and something to be shared. We love bringing all of these superb sparkling wines together with our followers at The Bubbles Festival”. There is no other wine event in Australia that showcases a range of sparkling in this way.

 

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We Are Not Wagging Our Finger At You… Yet

'Scenes from the Climate Era' by David Finnigan

‘Scenes from the Climate Era’ by David Finnigan Rating

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Last night I attended Underground Theatre Co’s production of “Scenes from the Climate Era”, written by climate activist and theatre maker David Finnigan.

I went in cold; I didn’t know anything about it. I recognized a few of the actors, I knew the venue and I expected it to be heavy and probably depressing.

It was heavy and intense. Most I agreed with, some scenarios just annoyed me, but the important and impressive thing is I was invested and reacting with my thoughts and emotions.

This play is about past climate crises and possible future crises. Giving scenarios in first person from actual events or possible events. Cyclones, fires, heat waves and human reactions. Climate change is complex, chaotic and not a quick fix.

The Geoffrey Rush Studio is under the old Schonell Theatre – closed since 2021 while UQ work out what they do with it. But luckily for UTC the studio is available to them and is an intimate space with tiered seating and ample room for a flat or raised stage.

The set was kept simple – white and black chairs lined up at the edge of the stage, a white and black table to be both table and raised podium, a backdrop that was back lit to create imagery from the actors and atmospheric conditions.

 

 

The lighting was simple but used well to set up different scenarios, as was the use of sound. With such a simple set and no costume changes the use of these could have been even more predominant without overpowering the actors or storyline.
You could tell the creatives were all passionate about this play and all gave an emotive performance.

The 8-member cast of Cullyn Beckton, Ava Kozlovskis, Lara-Kate Anderson, Abigail Thomas, Loretta Melit, Miller Braithwaite, Ruby Gleeson and Georgie Falting are all to be congratulated along with 12 creatives led by director Jai Bofinger rehearsed and brought this to production in only 7 weeks. There are 65 scenes to cover a range of human emotions and experiences.

This is a journey that invites you to listen to the danger of climate change from sharing and witnessing experiences with the actors on stage.

It runs for 90 minutes, and an interval would have given the audience a reprieve from the intensity and a chance to catch up with all the information. In saying that the actors were totally committed and an interval may have derailed the emotions and pace of the play.

Did I enjoy it you may ask. I often question my choices when thinking of the effects on the climate. My recent Shein purchases, takeaway plastic containers – this play set out to remind me that we are all part of the solution. But did I enjoy it.
YES – because I like being challenged and i was entertained. This play would not have been on my radar but as I had never seen or heard of it or the playwright, i was curious, and i was not disappointed. For further research and information look up the writer, David Finnigan, he is an interesting character himself.

It runs until the 25 April, tickets on Trybooking.com $20-$35

To book tickets to ‘Scenes from the Climate Era’ by David Finnigan, please visit https://www.trybooking.com/events/landing/1560499.

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School of Rock The Musical: Towering, Empowering and Crackling with Energy

School of Rock

School of Rock Rating

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10 years since its Broadway debut, School of Rock The Musical is back at the top of the class, thanks to Passion Productions. A musically catchy, infinitely quotable and enormously demanding show, SORTM is delivered with such courageous energy and commendable execution, the audience feel like they’re in the band, on top of mount rock – sticking it to the man!

Based on the 2003 Jack Black film, SORTM follows Dewey Finn (Lachey Gleadhill), a struggling musician crashing with his friend Ned Schneebly (Jackson Kellaway) and Ned’s partner Patti Di Marco (Isabella Farry) – to Patti’s vocal and repetitive disapproval. Under pressure to start contributing financially – and suffering from a hangover, in addition to the indignity of being kicked out of the band he started himself – Dewey pretends to be Ned, taking up a substitute teaching assignment under his assumed identity, at the prestigious but stuffy and structured Horace Green Prep School.

While at Horace Green, Dewey quickly wins over the students with his unorthodox exuberance and enthusiasm, polishing their musical potential, entering them in The Battle of the Bands. However, his legitimacy and longevity at Horace Green hang in the balance; Will the school faculty or parents uncover Dewey’s deceit? Will Horace Green empower the students to succeed, when their chosen path subverts set expectations?

As Dewey Finn, Lachie Gleadhill is well cast, gaining momentum throughout the performance. Gleadhill has a natural rapport with scene partners, especially the youngsters. This is perhaps unsurprising, where Gleadhill is a high school music teacher by trade. It is nice to see the grumpier, hung over Dewey lighten into the more youthful and optimistic incarnation in the second half; Dewey Finn works best when played loose and light.

Jackson Kellaway is an affable Ned Schneebly, providing a centred counterpoint to Dewey’s manchild character; a rocker at heart, like Dewey, but unlike Dewey he has abandoned his dream of musical fame in favour of a respectable day job, reconciling himself to a grounded, grownup reality under the thumb of Patti (Isabella Farry). As Patti, Farry is an entertaining study; While she is perhaps the stories chief antagonist, naggingly judgmental, putting Dewey down at every opportunity, on some level we can sympathize with her predicament, dealing with an inconsiderate, freeloading friend of her partner, outstaying his welcome.

 

 

My favourite adult performance comes from Isabel Kruse as Miss Mullins, bringing deft nuance to her character’s story arc, in addition to a remarkable operatic voice, which also lends strongly to the show’s more contemporary fare. Kruse’s number ‘Where Did the Rock Go’ beautifully illustrates the show’s deeper counter theory- that real life requires compromise, where people settle for lower risk realities, in favour of pursuing their wilder dreams.

However, SORTM truly belongs to the talented young cast, who each deserve hearty recognition for their great work. It is wonderful to see such dedication to detail, presenting fully realised characters who are alive and fully fleshed-out, filling the stage with interesting shapes, serving the scene even when they are not at the centre of the dialogue, avoiding any dead moments.

Particular highlights from the younger cohort include Saana Chang as Summer Hathaway, turning in a lively performance with charisma and excellent dance and gymnastics ability, Emily Winwood as Zara Mooneyham with her natural stage presence, emotional gravity and superlative musical abilities, and Alessia Lily Monteverde as Tomeka Spencer-Williams, showing incredible vocal ability, with precise vocal runs and excellent pitch.

Chloe Coleman as Freya Hamilton catches the eye with rhythm and commanding confidence belying her youthful age, while Henry Hedger is a charismatic Billy with terrific comedic timing and the perfect amount of sass.

A talented ensemble cast play multiple adult roles seamlessly, while the onstage band capably guide the tempo and bring atmosphere to the show.

While on preview night there were a couple or minor sounds issues, and an occasional flat note, such criticism is picky, when SORTM is such irresistible fun. Huge credit is due to the Production Team, led by Director Connor Clarke, alongside Musical Director Jacqueline Atherton and choreographer Stephanie O’Shea, to triumphantly present a complex show like SORTM at this scale and quality. Overall, an entertaining, family friendly night out, that is towering, empowering, and crackling with energy.

To book tickets to School of Rock, please visit https://events.humanitix.com/the-school-of-rock.

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