The Wolves

The Wolves

The Wolves Rating

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3

The Wolves began with one of the girls warming up for soccer. As the soccer player #13 (Kristie Kriaris-Tsotras) warmed up, so too did the audience. The Wolves is about a group of girls on an indoor soccer team together, and explores what it’s like to be part of a team, and to be a teenage girl surviving amongst her peers. Written by Sarah Delappe, The Wolves delicately balances the exploration of how young women interact, and what it means to part of something bigger than oneself.

The set was clean and minimalist, with artificial turf across the whole stage, designed by Tom Vulcan. The bright lighting (also designed by Tom Vulcan) neatly established the stage as an indoor soccer field. The stage was well established, unmistakably, as a place for the soccer team to mingle, play, and be The Wolves.

The choreographed introduction on the show was well synced and impressive. The entire ensemble warmed up together, and powerfully set the expectation of how the soccer team worked together and moved as one across the stage. Throughout the show there were moments where the entire ensemble warmed up, and the physicality of the movements adds richly to the identity of the girls in the show. They are there as a group, moving together.

 

 

The complex group dynamics were established early into the play. There was consistently overlapping dialogue, that was conducted with an impressive amount of skill. The overlapping dialogue felt authentic to the experience of teenage girls. It meant that the audience always missed a little bit of context or conversation, adding to the feeling of being a teenage girl, never quite knowing what was going on, always slightly disoriented. This also effective built the tension between the characters, as they gossiped and bullied each other.

The different members of the soccer team discuss their lives, politics and hint at the complexity of socioeconomic differences between the team members. These topics of discussion lead naturally to awkwardness, both genuine and manufactured. The tension built and developed as the interpersonal conflict and affection escalated amongst the teammates. The ensemble cast expertly weave the complex relationships of the different team members, exhibiting impressive and excellent chemistry.

Ultimately The Wolves asked the audience to ponder if we should care about what others say about us, or what it means to be a team. When I leave a show asking myself questions, I know I’ve been thoughtfully and meaningfully engaged.

To book tickets to The Wolves, please visit https://www.theatreworks.org.au/2026/the-wolves.

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Last Actor Standing

Last Actor Standing

Last Actor Standing Rating

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1

Last Actor Standing is a recurring comedy improv game show where four actors compete to become the Greatest Actor Of All Time. Created by Lost Theatre Company, the show offers a completely different selection of guests and games every week, guaranteed to delight, entertain and sometimes shock audience members. Think “Who’s Line Is It Anyway” paired with “Taskmaster”, grounded deeply on the Melbourne independent theatre scene.

This Friday I had the pleasure of venturing into Club Voltaire to watch Joshua Bruce, Lilian Hudson, Jacob Kuek and emergency cover Ana Swadling battle through three rounds of on the spot comedy acting, chasing the crown awarded to the Greatest Actor Of All Time. From improvised plays and villainous plots to company catchphrases and long forgotten technology, these actors took a solid swing at everything that was thrown at them. All actors put on a good show (and congratulations to the recently crowned Lilian Hudson) but unfortunately I cannot recommend you go and see them (though highlights are likely to get posted on instagram), because every Last Actor Standing show boasts a completely new cast of Melbourne Theatre makers. This week, the cast featured actors from Lost Theatre Co.’s upcoming performance of Too Much Light Makes The Baby Go Blind (a clever bit of promotion, if ever I saw it) but other weeks, the show has welcomed improvisers, actors and musicians from a wide range of beloved Melbourne theatre productions.

 

 

I have been lucky enough to see a few Last Actor Standing shows and credit must be given to reoccurring hosts and co creators of the show Noah Sargent and Jay Watts who, along with writers Pip Wiseman and Alex Watts, repeatedly come up with new ways to test (and torture their actors) in a format that remains consistent with shows brand without becoming repetitive and allowing for a recurring audience. Noah and Jay have stated that their intention with Last Actor Standing was not only to create a show that would entertain audiences, but also a show that would provide connections for Melbourne artists and promotional opportunities for independent theatre. In doing so, they have created a vibrant network of young creatives who are defining the next generation of independent performing arts in Melbourne. If you want the opportunity to experience a future pillar of the Melbourne independent theatre scene at its base level, their Last Actor Standing Championship round (featuring all the winners from this season), is fast approaching. I highly recommend it as an entertaining way to spend a Friday night.

To book tickets to Last Actor Standing, please visit https://www.losttheatreco.com/.

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Eurydice

Eurydice

Eurydice Rating

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5

Melbourne Shakespeare Company’s production of Eurydice at fortyfivedownstairs is a remarkable theatrical achievement, an ambitious, visually poetic and emotionally resonant work that lingers long after the final moments on stage. Written by acclaimed American playwright Sarah Ruhl, whose celebrated works include In the Next Room (or The Vibrator Play) and Stage Kiss, Eurydice offers a contemporary reimagining of the ancient Greek myth of Orpheus and Eurydice. In the hands of director Gary Abrahams, this modern classic becomes a deeply moving exploration of love, loss, memory and the spaces between worlds.

Ruhl’s script cleverly balances heartbreak with humour, weaving together lyrical language, surreal imagery and witty commentary on the challenges of translating classical myths for contemporary audiences. This production embraces those contrasts wholeheartedly. The result is a theatrical experience that feels both intellectually stimulating and emotionally accessible, inviting audiences into a world where the ordinary and the extraordinary coexist.

Director Gary Abrahams once again demonstrates why he is one of Australia’s most inventive theatre-makers. His vision for Eurydice is bold and imaginative, creating a production that seamlessly blends music, visual storytelling and dreamlike theatricality. Every creative choice feels purposeful, contributing to a rich sensory landscape that captures the mythic scope of the story while remaining grounded in its deeply human emotional core. Abrahams crafts a world that is at once strange and familiar, beautiful and heartbreaking.

 

 

The cast delivers exceptional performances across the board, with each performer bringing a distinct energy and presence to the stage. Special mention must go to Aisha Aidara in the titular role. Aidara’s portrayal of Eurydice is fearless and deeply affecting. Through both voice and movement, she captures the character’s vulnerability, intelligence and passion with extraordinary nuance. Her performance is filled with emotional honesty, allowing audiences to connect profoundly with Eurydice’s journey between love and loss.

Equally captivating is Devon Braithwaite as the Lord of the Underworld. Braithwaite commands the stage with magnetic charisma, bringing humour, menace and unpredictability to the role. His performance provides many of the production’s most memorable moments, skillfully balancing the play’s darker themes with its delightfully absurd wit.

What makes this production particularly successful is its ability to touch the soul without sacrificing any reverence for the classical myth. It trusts its audience to engage with its complexities while offering moments of genuine wonder and beauty. The combination of evocative design, haunting music and exceptional performances creates an atmosphere that feels almost dreamlike, as though the audience has stepped into a living poem.

Melbourne Shakespeare Company has delivered a production that honours the spirit of Orpheus and Eurydice’s extraordinary love story while carving out its own unique voice. Eurydice is a masterclass in contemporary theatre-making. This production is thought-provoking, visually stunning and emotionally powerful. It’s little wonder that this season is likely to sell out. This is theatre at its most imaginative and affecting, and it is absolutely not to be missed.

To book tickets to Eurydice, please visit https://www.melbourneshakespeare.com/eurydice.

Photographer: Nick Mick Pics

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Kimberly Akimbo

Kimberly Akimbo

Kimberly Akimbo Rating

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2

Last night, I had the pleasure of going to see Strathmore Theatrical Arts Group (STAG)’s production of Kimberly Akimbo, a heart warming coming of age story about a young girl who ages four times faster than she should, her hypochondriac, pregnant mother, wellmeaning but drunken father, less than law abiding aunt and the boy from school who won’t leave her alone. The play, despite being written in 2000 by celebrated playwright David Lindsay-Abaire, is not often performed, particularly in Australia. The delightfully written piece of theatre has been on my list to see for a while, ever since I unfortunately missed the MTC’s season of the musical, so I went in with high hopes.

The cast rose beautifully to meet my expectations, taking complicated emotional notes, physical restraints (I’ve personally never even considered how hard it must be to act with crutches AND bandages on both hands) and specific accents into their strides. Special props must be given to Jeanne Snider who played the leading role of Kimberly. Jeanne has had the unique challenge of embracing both her inner 16 year old and her inner 60 year old and has done so with a grace and whimsy that has beautifully embodied the character to such extent that I am unwilling to posit a guess towards the actress’s true age. I would also like to applaud the efforts of returning STAGer Nathan Slevin, whose steadfast and nuanced performance provided the perfect contrast to the more extravagantly characterised roles undertaken by Emily Goode, Elise Moorhouse and Dante Filippone.

 

 

A moment of appreciation must also be given for the set. The theatre space, while small, created a cozy, homelike environment perfectly suited for this quirky little play, and the set was designed with an attention to detail that thrilled and entertained me (the Buffy the Vampire slayer posters in particular made my teenage heart sing). I’m always appreciative of a production that knows how to utilise the space they are given (especially within the penny pinching world of community theatre) and STAG’s Kimberly Akimbo is ticking that box, creating a library, a teen girl’s bedroom, a kitchen, the front seat of a car and even a safari in one small theatrette. The detail in the visuals, from the wall paper to the cereal to the costumes all came together to create a not quite harmonious setting, perfectly encapsulating the strange, overcommercialised, technicolour vibe of the millennium.

To book tickets to Kimberly Akimbo, please visit https://www.trybooking.com/events/landing/1528218.

Photographer: Lee Cook

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