The Weathering

The Weathering

The Weathering Rating

★★★★★

Click if you liked this article

7

The Weathering is an extraordinary fusion of movement, sound, projection, and puppetry, a bold new work from Fusion Theatre’s inclusive ensemble that resonates long after the final moment fades into darkness. Directed by Darcy McGaw and Jo Raphael, this poetic and deeply human production transforms the urgent realities of climate change into a visceral, sensory experience.

From the first moments, the performers command the stage through their physicality. Their bodies become landscapes, trembling trees, surging waves, shifting winds — embodying both the fragility and ferocity of a planet under pressure. The use of light and darkness creates a haunting rhythm, as projections wash across the stage like passing weather fronts. At times, the performers seem to dissolve into these shifting visuals, blurring the line between human and environment.

The original soundscape adds another layer of emotional texture. Whispers of rain, the low rumble of thunder, and fragments of breath and song create a world that feels at once intimate and immense. The puppetry, too, is quietly powerful — delicate yet evocative, revealing the interconnection between people and nature in ways words alone could never capture.

 

 

What makes The Weathering so compelling is the way it seems to capture opposing forces in its grip. It holds space for both helplessness and hope, for the chaos of the storm and the calm that follows. The pacing shifts fluidly between frenzy and stillness, echoing the unpredictable rhythms of the natural world. There are moments of silence that feel deafening, and bursts of movement that feel like the earth itself is speaking.

At its core, this is a show with immense heart. It gives voice to those who are too often excluded from conversations about the climate crisis — voices that are essential, urgent, and profoundly moving. The ensemble’s commitment shines through every gesture, every sound, every flicker of light.

McGaw and Raphael have crafted a work that feels both timely and timeless. The Weathering doesn’t just ask us to think about the world we’re losing — it invites us to feel it, to grieve it, and ultimately, to imagine how we might begin again.

To book tickets to The Weathering , please visit https://www.theatreworks.org.au/2025/the-weathering.

Spread the word on your favourite platform!

A One-Man Cabaret by Mario Acosta-Cevallos

Caminare - The Echo Of My Steps

Caminare – The Echo Of My Steps Rating

★★★★★

Click if you liked this article

1

Caminaré, The echo of my steps.

A ONE-MAN CABARET BY MARIO ACOSTA CEVALLOS

(MELBOURNE FRINGE FESTIVAL, 2025)

For anyone passionate about life’s unique narratives, expressed through human movement or dance, this new Latin cabaret show at Gasworks is for you.

Venezuelan-born Director and Dramaturg, Clary Riven, used, “The fire of Latin dance blended with the soul of cabaret to form a tale of culture, rhythm, pride and pain” to shape this new piece, her motivation being “inclusive stories that connect deeply with audiences.”

Starring World Salsa Champ, Mario Acosta-Cevallos, who created this cabaret, we watch as Mario bares his soul, via his life’s memories, confronting personal revelations and dancing his way through the complicated discovery of ones’ identity, self-doubt, and finally, healing.

Through music and movement, Caminaré reveals episodes of Mario’s past, from his introduction to Latin music growing up in a migrant household, to the glitter of the stage, to embracing his truth as a queer Latino performer, each episode disrupted by one of Mario’s energetic, professional, technically perfect Salsa routines – a joy to watch – some which defined him as Number One, others which didn’t. This drew a clever analogy to the way our lives ebb and flow.

Mario Acosta-Cevallos’ choreographed the show with Laura Anderson, who also produced the show. Laura has worked with some of the industries’ leading artists and companies, across musicals, live music, television and, theatre, her motivation to “push the boundaries of dance as a powerful form of expression.”

 

 

The audience sees Mario’s amazing routines that defined him as a winner but more interestingly, we see Mario’s sense of humour, his vulnerability, his competitiveness and ambition, most of all, we see his heart.

Stage manager, Seamus Allan, set the stage like a dressing room or backstage area, including some of Mario’s past glittering costumes and accolades.

Lighting Designer, Tom Vulcan, warmed the stage rosy at times, but mostly in bright red lights, that gave off an intensity when required.

Handsome and physically gifted, looking every bit the leading man, while this star is an openly gay artist, I noticed Mario had as much admiration from multiple ladies in the audience as gentlemen. Many were holding flowers to present to him after the show. After all, Mario is a 10+ time World Salsa Champion, touring internationally and performing on some of the world’s biggest stages, including the acclaimed, ‘In the Heights’.

Mario shows us he has learned life is not always about coming first, rather, it’s a moving feast, a constant buffet of lessons and of growing wiser. He is obviously a giver, a teacher, and a friend to many.

I liked his lines, “Hurt people hurt people” and “Who are you dancing for?”

Also, another dance analogy to life and relationships with, “….the push and the pull.”

The brochure offers, “This show is for everyone who’s ever questioned where they belong – and for those who found the courage to keep moving forward anyway.”

Many of us could learn from that.

• Caminaré – the Echo of my Steps, is playing at Gasworks until 11th October.

To book tickets to Caminare – The Echo Of My Steps, please visit https://www.melbournefringe.com.au/whats-on/events/caminare-the-echo-of-my-steps.

Spread the word on your favourite platform!

Powerful, Passionate, and Fantastic

The Comedy Games with Coach Mon

The Comedy Games with Coach Mon Rating

★★★★★

Click if you liked this article

3

Comedy Games With Coach Mon is now on at the Ivanhoe Library & Cultural Hub’s Yarra-me Djila Theatrette as part of the Melbourne Fringe. Aimed at children age 4 and up, the show is a really fun way to introduce your junior primary and pre-school kids to interactive live theatre. It’s a great antidote to the effects of too much screen time – it’s upbeat, inclusive, funny and interactive. It stimulates the imagination and reminds us how to play. The age appropriate humour is infectious, and a lot of it is supplied organically by the children themselves. I highly recommend it.

The theatrette is cosy, clean and family-friendly. Coach Mon makes your child feel at home by introducing herself to each child and learning their names before the show starts, so I recommend getting there a little early to settle into the space. There is ample parking at the Ivanhoe venue which also has a lovely café and a library on the same level.

The theme of the show is sports. Coach Mon’s dream is to be a sports coach and she is looking for athletes who are Powerful, Passionate, and Fantastic. There’s a good dose of the ridiculous, which kids love, so we’ll be starting with eyebrow push-ups and weight-lifting with marshmallows on a skewer, for starters. Sometimes Coach Mon might need some coaching herself. Does she really know what hurdles are? Why is she asking for child hurdles – “churdles”? Will she jump over them or fly?

 

 

Adults – you will not be bored! Coach Mon knows how to keep the kids’ attention with singing, acrobatics, jokes, miming and clowning-skills, all with a warm connected personality. She knows how to keep them quietly in their seat, if needed, and, conversely, how to get them up and noisy depending on the scene of the show. You’ll be able to relax and enjoy the antics with your child, and possibly even take part in some synchronised swimming!

The fast pace of the show is underscored by well-chosen classical and pop-rock songs. For example, who doesn’t like a slow-mo running race with Chariots of Fire as the soundtrack? I loved that this show was exposing the young ones to really good music from Peer Gynt Suite’s Hall of the Mountain King to Eye of the Tiger. We might know these songs, but it might just be the first time the little ones get to hear it.

After the show, Coach Mon stayed to chat to kids and adults as they were leaving. I had a chat to her too and discovered that Coach Mon is the multi-talented Monique Warren who is an actor, musician, educator, choir director and clown. She grew up singing in the Australian Girls Choir and then stayed on as a choir teacher for 12 years. Her inspiration for the show came out of blue one day while she was teaching an online co-curricular drama class online during COVID lockdown in 2021. Worn out by the sheer boredom she had had enough and walked away from the faces on the computer screen. A minute later, she was back with sports cap on and tennis ball in hand and announced “I’m Coach Mon. Let’s play!”.

Monique Warren’s dream is to build her kids show to be a regular school holiday gig. The joy she gets from doing the show is from bringing people together and that is her passion. It’s a Passion that is Powerful and her show is Fantastic! Go see it before it closes. Let’s play!

To book tickets to The Comedy Games with Coach Mon, please visit https://www.melbournefringe.com.au/whats-on/events/the-comedy-games-with-coach-mon.

Spread the word on your favourite platform!

RUINS / أطالل 

Ruins

Ruins Rating

★★★★★

Click if you liked this article

9

RUINS / أطالل 

Ruins / أطالل at the Seymour Centre is a stunningly realised masterpiece of movement from Clockfire Theatre Company, devised by Emily Ayoub and Madeline Baghurst.

The play was described by the creatives as a love letter to Lebanon and the Arab Diaspora, and it’s clear from the very first seconds of the play that the love runs deep. Ruins / أطالل creates an utterly beautiful depiction of a deeply human story that at times conveyed the liveliness and beauty of Lebanon and then, at other times, took an unflinching look at the realities of war. 

Ruins / أطالل is one of the most important and relevant pieces to come to life in the current Australian theatre landscape. It’s a powerful story, exploring the complexities of grief and family, migration and sacrifice, and the power of memory. The subject matter is handled with sensitivity and emotion, creating a story that feels authentic and honest. 

Amelia is grieving the sudden loss of her father, and takes a solo trip to Lebanon that they’d planned to take together. Alongside her journey, we see her fathers last trip to Lebanon as a young man, and see how their stories intertwine in an intensely emotional journey through time and place. 

 

 

Ruins is brought to life by an incredible cast of actors that deserved every second of the standing ovation they received at the end of the play. Randa Sayed is an emotional powerhouse as Amelia, delivering an incredible performance full of vulnerability and power. Moments of humour perfectly balance the grief, delivered with perfect comedic timing by Adeeb Razzouk and Piumi Wijesundara, both of whom were able to switch deftly between humour and heartbreak at a moments notice. Tony Poli brings a groundedness and charm to his character with a remarkable performance. Youssef Sabet is spectacularly energetic, carrying his roles with ease, and Madeline Baghurst displays some of the best movement work I’ve ever seen.

Movement drove every minute of this play and created a world that invited the audience to connect. The ensemble created worlds with their movement, and had a synchronicity onstage that felt almost musical.

The set is stripped back and immediately intriguing, bursting with dimension. The raised stage is removed, making the most of the space and creating a sense of the vast in the intimate theatre space. Sheer fabric with rounded archways cut out of them pair beautifully with video projections to create a vivid environment that brings the story to life without distracting from the main elements of the story. Transformation is a key part of the genius of this set design, with minimal props and set pieces inventively used to convey a multitude of spaces. 

Projections and music were beautiful accompaniments to the action onstage, and the live flute performances were a gorgeous addition to the beautifully designed soundscapes. 

The language was a beautiful mix of English and Arabic, that elicited the sense of musicality within the language. Projected subtitles make it accessible for non- Arabic speakers, but even the scenes that weren’t given subtitles felt accessible through movement and tone. 

Ruins / أطالل is exquisitely moving, and utterly devastating, full of flawlessly executed movement pieces, creating something transcendently beautiful. 

Ruins / أطالل is playing at the Seymour Centre until October 18th.

To book tickets to Ruins, please visit https://www.seymourcentre.com/event/ruins/.

Photographer: Geoff Maggee

Spread the word on your favourite platform!

Subscribe to What's The Show

Reviews, show news and what is on, straight to your inbox.