Adventures Under The Sea, On Earth and To The Moon (And Back)

Twenty Million Thousand Leagues Under The Sea

Twenty Million Thousand Leagues Under The Sea Rating

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2

To say this show is just a theatre performance would be simplistic. Twenty Million Thousand Leagues Under the Sea by Pummel Squad cannot be boxed into just one category. Presented onstage by creators and performers Harry McGee and Cooper Donald McDonald, together with sound designer and composer Yanto Shortis, the show is a lively explosion of creativity—a brilliant blend of comedy, live-action illustration, and music, all brought to life with quirky narration and the classic overhead projector (OHP)!

The three performers tell the story of Rasthomas Bulge, an ordinary fellow with an extraordinary name, represented in 2D illustration in various poses, depending on the storyline. He’s drawn in 2D but at times is represented by larger than life 3D narrators, who voice his thoughts. At other times, his thoughts are cleverly interspersed and gently made known, projected onto a screen. Combining shadow puppetry with stencils and rolling overlays, along with narration and acting, the creators move beyond the ordinary to present the story in the most original way possible.

Rasthomas is a car salesman with a bushy moustache. He is drawn with three curly springs of hair sprouting from his head, bright eyes and a snappy suit. As the audience is being seated, his creators are sketching him to life on the overhead projector bit by bit. It was fun watching Rasthomas become himself, and it felt like we were getting an art lesson as the lines morphed into a cartoon man.

He’s got a steady job, a steady social life, (albeit with a shady school friend, drawn to “look bad, and is worse on the inside”) and a steady, ordinary life with his family. At the heart of the story is Rasthomas, feeling unsatisfied with this steady life. He is clearly experiencing a mid-life crisis where he feels that there’s something missing. After meeting and selling a sportscar to a man who surprisingly looks a lot like him, Rasthomas goes in search of adventure.

 

Following Rasthomas to literally the ends of the Earth and sky, the audience is entertained with stories of him travelling from the depths of the ocean to the moon and back. In a nod to the novel Twenty Thousand Leagues Under the Sea written by Jules Verne, there’s danger, daring escapes, sea monsters and even a bit of Casablanca cleverly woven in that ties right back to his wife. He realises after he has stepped out of his own shadow, that his ordinary life is something to be treasured, and perhaps looking at things from a different perspective brings acceptance.

Along with the lo-fi music and an almost continuous sound design accompaniment to the show, musician Yanto came out from his music station at the side to take centre stage. Standing in front of the screen, he sang an original song with his banjo ukulele as the projection rolled along, with the drawn buildings floating past with song. The audience loved it!

A memorable moment for me was one where we were introduced to Rasthomas’ four sons, drawn in lines, their portraits smiling. Their names were announced and revealed, read aloud as a list, with the first three son’s names rhyming, culminating with the youngest son being named Rasthomas Junior, which made me laugh as it was so silly. It was these witty bits of comedy, seamlessly woven in and delivered at surprising moments throughout the show, that gave the show a comedic charm which I thought was reminiscent of Roald Dahl.

Twenty Million Thousand Leagues Under the Sea was a 50-minute performance that seemed at times to be an improv. However, the Pummel Squad team cleverly crafted their skills to only make it seem this way, involving tag teaming the precise placement and flipping of stencils on the OHP, and quick delivery of quips and cheeky lines. Part of the 2025 Sydney Fringe Festival and already an award-winning show, this is one quick-draw scribby art combo comedy show (I did say it was hard to categorise it!) which will capture your sense of humour and your heart. Don’t miss this truly unique performance—there’s nothing else like it!

Season: 10- 13 September (matinee and evening performance on Saturday 13 September)
Run time: 50 minutes
Venue: New Theatre, 542 King St Newtown
Tickets: www.sydneyfringe.com/events/twenty-million-thousand-leagues-under-the-sea

To book tickets to Twenty Million Thousand Leagues Under The Sea, please visit https://sydneyfringe.com/events/twenty-million-thousand-leagues-under-the-sea/.

Photographer: Tom Noble

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Getting Lost to Find What Truly Matters – Lost and Finding

Lost & Finding

Lost & Finding Rating

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3

Liminal Production’s “Lost and Finding” is one of those unique theatre experiences which peaked a sense of curiosity, right from the beginning. Unlike other plays, where patrons are seated in the theatre and watch a story, this is immersive storytelling which began from the moment we walked into the Flight Path Theatre in Marrickville. Producer Aaron Cornelius greeted us at the door with a raffle ticket – for what, we did not know, but it did create a sense of excitement! Billed as a fantasy-comedy interactive show, I was aware that audience participation was most likely going to happen. However, for people who aren’t comfortable with this, there are marked seats inside the theatre for those who don’t mind being a part of the show.

When we entered the theatre, the lighting was dim. Shadows created crevices of the unknown. There was an atmosphere that felt mysterious and ominous. (Lighting design by Caity Cowan) What was this place? Where were we? At first glance, it looked like a garage filled with vintage junk; a hoarder’s room stacked floor to ceiling with things like boxes, sheets, tee shirts, guitars, paintings, milk crates, monitors, sport equipment and suitcases. As the play progressed, it was clear that every placement of this seemingly haphazardly strewn “stuff” was designed and placed with infinite care from the imagination of production designers Hannah Taylor and Paris Bell. The visual effects of the multi-level set was impressive. As a room infused with lost memories, my eyes kept exploring the set throughout the play and I wondered, who were the people whose memories these belonged to? The set also reminded me of The Junk Lady from one of my favourite films, “Labyrinth”.

We follow a confused Cassie, portrayed by Emma Throssell, where she finds herself unexpectedly in this strange space, looking for something, of which she cannot remember. She has literally fallen into a world where she encounters many interesting characters who help and hinder a journey towards discovering what it is that she has lost. Emma’s portrayal of Cassie delivered an outstanding performance that captured the emotional depth and authenticity of the character and I felt myself cheering her on in her quest. In one scene, Cassie had to perform a stand-up routine for an audition. Emma wrote this routine for her character. I felt the awkwardness and nervousness of Cassie as she delivered it, at the same time finding it very funny.

 

 

The amazing puppets and puppeteering were a delight to watch! Puppet maker/ director George Wohlfiel created original characters, ones who I could not help but look into their eyes – up at Lizard Wizard, down at the cheeky lizard and particularly at the pigeons Carl and Steve, whose eyes popped out and bobbed as they spoke. Carl had a big personality – a ciggy craving pigeon that made me laugh. His job was akin to a Service NSW customer service worker who was overworked, underpaid and frazzled. There was one puppet called Poppet, with its big eyes and gentle personality who I wanted to take home. Another character, The Dread Pirate Susan, spoke eloquently in poetry, and her name reminded me of The Dread Pirate Roberts from another of my favourite films, “The Princess Bride”. I loved the respectful nod to the two films I’d associated certain characters from, while still maintaining originality.

The puppeteers were polished in their craft and worked together to create convincing movements of their characters for a realistic stage presence. Puppeteers Ashley Chandler, Natanyah Forbes, Jade Fuda, Michael Ho and Renae Valastro did an outstanding job, all the while weaving their own bodies onto the stage with nuance and expression.

Co-sound designers Bryan Ruiz and Ellie Wilson from “Lost and Finding” created a continuous audio environment that added a strong dimension to the production. The dramatic soundscape and subtle sound effects, along with the visuals, encompassed my senses. One scene, which involved a villain speaking, was done with great depth and menace.

Director Emma Van Veen also wrote the play “Lost and Finding”. Her script captured my curiosity from the start and allowed my imagination to stretch to places within the set and far away. There were several sub-plots in the storytelling which were intertwined and were cleverly penned. “Lost and Finding” reminds us of the complexity of our own minds and the limitlessness of our imaginations. This tale of self-discovery, of finding the unexpected was a beautifully woven theatre production which I highly recommend to everyone. Go see it!

I saw the world premiere performance of “Lost and Finding” at the Flight Path Theatre on Friday 15 August 2025.
Flight Path Theatre: 9b 142 Addison Road, Marrickville
Run: 14-23 August 2025
Time: 100 minutes, no interval
Tickets: www.flightpaththeatre.org/whats-on/lost-amp-findings

To book tickets to Lost & Finding, please visit https://www.flightpaththeatre.org/whats-on/lost-amp-findings.

Photographer: Phil Erbacher

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An Transcendent Evening Of Theatrical Brilliance

Night Night

Night Night Rating

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3

From the moment I was handed an interactive pendant at the door of the Alexander Theatre, it was clear Night Night was no ordinary night at the theatre. What followed was one of the most inventive, heartfelt and boundary-defying performances I’ve ever experienced.  

Created and directed by the trio Arielle Gray, Luke Kerridge and Tim Watts, Night Night tells the story of Pip, an Antarctic scientist on a quest to uncover the origins of life. What begins as a familiar voyage into isolation and scientific frustration soon tumbles into a surreal dreamscape with an albino penguin guiding our hero and glowing entities emerging from unseen dimensions. It’s a world built from ice and wonder, where the veil between this world and the beyond feels paper-thin.

The compelling narrative unfolds not just on stage, but across a variety of mediums. The set is deceptively simple, consisting of a large projector screen and a small movie studio, fully visible, at the side of the stage. Combined, they become a playground of live cinematography, puppetry, mime, and animation. Gray and Watts deliver a masterclass in physical theatre, coaxing moments of poignancy, whimsy and laugh-out-loud humour from every pixel and prop at their disposal. Their onstage rapport and seamless interaction is the glowing heart of the show. Their performances feel at once effortless and deeply considered.

The sensory layering was delightful from the moment we entered the theatre. Live sketches on an iPad become playful preludes to the show, blending content warnings with charm (beware the show’s loud sounds, flashing lights and wimsy). Messages and images appear on the screen, inviting the audience into the world with a light touch before plunging them into deeper waters.

Rachel Claudio’s musical score and sound design deserve particular praise. They don’t just accompany the action, they elevate it, transporting the audience with a soundscape that moves from delicate to dazzling, always in perfect dialogue with the visual storytelling. The audio-visual synthesis is so immersive it’s easy to forget how complex and technical the show must be.

Night Night’s innovation lies in how it wears its complexity lightly. Static and animated visuals are woven with handmade puppets, showing digital magic dancing alongside analogue charm. Every moment feels handcrafted, intentional and lovingly made. The creative team’s meticulous attention to detail is evident in every snowflake, shadow and blink of light.

This is theatre as revelation. An invitation to see the world differently and to feel more deeply, remembering the power of connection to each other, to nature and to something greater. As Pip’s journey becomes more metaphysical, so too does the audience’s, emerging not only entertained, but perhaps even enlightened. 

In short, Night Night is a rare piece of theatre that feels both personal and universal, intimate and epic. It’s a reminder of what live performance can achieve when craft, heart and imagination collide. This is the kind of show that lingers long after the lights go out. Do not miss it.

Night Night will be on tour soon and is coming to Geelong Arts Centre in August and Bondi Pavilion in September. To book tickets to Night Night, please visit https://www.thelastgreathunt.com/night-night.

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Robin Hood: A New Family Musical

Robin Hood

Robin Hood Rating

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If you turn the corner in Malvern’s Central Park in the late morning, you’re greeted by winding ropes cordoning off islands to seat picnic blankets or chairs. You’ll also see set pieces straight from a primary school play: a tiny wooden island and cajón drum, green and brown paint-spattered cloths tied to trees, and details like fake rocks and a shelf of plastic food with the sign SHERIFFS PANTRY.

The team behind Melbourne Shakespeare Company’s Robin Hood uses this sequestered woody space to its fullest to craft a whimsical, ramshackle and original take on a classic story.

Robin (Billy Thomas), Dame Tuck (Jackson Cross) and Little Joan (Lucy May Knight) are going about their usual business of robbing the rich to feed the poor. But when they are caught stealing from the Sheriff of Nottingham (Kaia Reyes), he devises a new punishment: shipping them off to Australia.

There, the merry men, with the help of Bushranger Bruce (Daniel Hillman), must acclimatize to a strange new world and find their way back home. The beginning feels slow and the different scenes are somewhat disconnected and potentially difficult for a child audience to follow, but it was a pleasant surprise to see a slightly different narrative in a panto show.

 

The ensemble is charming and navigates their stage perfectly. Every line is audible, every slapstick gag is visible and tight, and every spectator gets close-up moments with the characters. Lucy May Knight as Little Joan stands out with a bubbly yet sharp physicality that’s perfect for panto.

The world-building was also fantastic at blending a familiar and fun Aussie context into a classic story. The adorable Australian animal puppets were a highlight, while all the pop culture references and self-referential jokes landed well with the adult audience.

Maxwell Simon’s (Muriel’s Wedding) original score is fun and full of laugh-out-loud lines, but there was only one song where the children were directly encouraged to play along. It felt like the whole show missed out on many opportunities for audience participation, and this led to some clear confusion and lost attention among the kids at some points.

While Robin Hood has its moments of missed potential, it’s definitely a worthwhile and unique experience for the theatre-loving family. It’s a scrappy, feel-good show that keeps the much-loved traditions of panto alive in a timeless yet modern story for an audience of all ages.

To book tickets to Robin Hood, please visit https://www.melbourneshakespeare.com/robinhood

Photography: Sare Clarke Photography

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