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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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 ā€œlook bad, and is worse on the insideā€) 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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About The Production – The Bridge

The Bridge

Today, we had the pleasure of catching up with the vibrant and talented cast of The Bridge. This inventive production dives into the dynamic world of the Aussie music scene, bridging the gap between the raw, grunge era of the 1990s and the flashy, digital age of today.

About The Bridge

What is this Production about?

THE BRIDGE is about the Aussie music scene in the 1990s and now, told through the experience of Amber, a grunge force-of-nature who was “too loud” and “too much” when she broke out, and is unexpectedly thrust back into the spotlight, thirty or so years later, when her most personal song goes viral… for all the wrong reasons.

If the culprit, TikTok darling Alyssa, is anything to go off, the ‘biz might look different but it’s the same old wolf (just in a very pink sheep’s clothing). But both women are immovable objects, and their collision course is well and truly set… and both will have to reckon with what the other means for their place in the world.

The Bridge is about the choices we make in a world that’s determined to misunderstand us, and how we can both push back against the systems that shape us, or get lost in the rapids… but ultimately, it’s about how MUSIC transcends, regardless of our differences.

What character are you playing, and what can you share with us about them?

I’m playing “Alyssa”, who is… a lot of fun to perform. She’s a TikTok tragic, impossibly obsessed with the colour pink, incredibly determined, but let’s just say… not so well-suited to a life outside her bedroom (just yet). I think she encapsulates a lot of what’s awesome about her generation – but she’s definitely a liiiittle vulnerable to some criticism, too.

What’s challenging about bringing this script to life?

The Bridge is this awesome, chaotic collision of the “old” and “new” worlds of the music industry – so, good old fashioned live music combined with the fast paced, sometimes boggling world of the internet – and we are well and truly bringing that to life on-stage with a blend of digital and live-performance elements. It’s going to be different to any other show you’ve seen, and different to any other show we’ve all been a part of bringing to life…

Why did you want to be involved in this production?

Myself and other co-writers Sunny Grace and Richie Black are all complete music nerds; our tastes converge around Aussie riot rock and a deep appreciation for the bad-ass trail-blazing women who brought truth and righteous rage to the world. I think we were all excited by the idea of writing something for the theatre that could really capture what Aussie’s really love about live-music… and as a musician myself, I was really excited about what that might end up looking like.

I’m also really inspired by my friends’ styles and tastes as writers and I wanted to be a part of creating something together; I’d never co-written for theatre before so it was an awesome experiment in how we can combine our voices, as three writers from three different generations (Zillenial, Millenial and Gen X), to not just talk the talk about intergenerational conversations but WALK THE WALK!

What sort of person is going to love this show?

Anyone who votes religiously in the Triple J Hottest 100.

What will the audience be thinking about in the car as they drive home after this show?

They’ll no doubt be thinking a lot about wigs, but also maybe speculating about the more human parts that their fave musicians might not show in the public arena.

What’s going to surprise people about this show?

I think the audience is constantly going to be thinking, holy shit what’s going to happen next, because the show is such a rollercoaster of energy.

Call someone out by name: who must come see this production?

Ella Hooper, Myf Warhurst, Yumi Stynes… we salute you. We request your attendance.

Who in the show is most like their character?

I really hope no one in the cast thinks it’s me.

Who’s the least?

Everyone (thankfully, in most cases).

Where can patrons purchase tickets to this production?

The Bridge is showing now to the 13th of September. To book tickets to The Bridge, please visit https://www.kingsxtheatre.com/the-bridge.

Thank you so much for sharing a glimpse of The Bridge with us! Best of luck with the upcoming show; it sounds like an unforgettable mix of nostalgia and new-age flair.

Other production interviews can be viewed in our About The Production Series.

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Wits and Whisky – Dorothy in Oz, An Immersive Cocktail Adventure

Dorothy In Oz: An Immersive Cocktail Adventure

Dorothy In Oz: An Immersive Cocktail Adventure Rating

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Writer and director Alex K. Wregg brings his lifelong love of the Oz books by L Frank Baum to life at the 2025 Sydney Fringe Festival. His latest imaginative experience Dorothy in Oz is introduced as an experience where guests attend a birthday celebration for Princess Ozma of Oz. I had no idea about what lay ahead in our adventure and the mystery of this added to the suspense.

We started our journey in Kansas, sitting on hay bales and drinking a preshow drink from the bar titled Baum’s Marvellous Medicines – Potions, Tinctures, Remedies. It is here we met Dorothy, played with girlish charm by Bethan Williams. She was the guide that lead us safely into the world of Oz after she suspects a tornado was on the way.

The theme of the different lands where we begin is clear when we step through the tornado tunnel. There are tables beautifully decorated in vibrant colours, representing the different lands. As with all things magical, there were fairy lights adding to the atmosphere. The guests were greeted by The Scarecrow, played by Adam Watt, and we were able to gravitate to whatever table colour we wished to sit at to begin our night. Throughout the performance, Adam maintained the thoughtful and sweet nature of the Scarecrow and deserves a shout out for when he answered some of my questions with quick witted Oz related answers multiple times.

Production designer and build, Paul Bujak created a space that appealed visually and made me want to explore the area (the different lands) immediately! I did go for a wander around when I first came in.

 

 

On one wall, there was a poster of Oz, titled ā€œThe Marvellous Land of Ozā€ and it pulled together the five different lands; Winkie Country, Gillikin Country, Munchkin Country, Quadling Country, all of which surrounded the famous Emerald City. Bordered on four sides by the Great Sandy Waste, Shifting Sands, Impassable Desert and Deadly Desert, this map’s artwork was truly beautiful, and I could have studied it for hours.

In dual character roles, Marni Collier played Tip with a light-heartedness zeal and Ozma, and Kirsty McGuire’s performance as Mombi and Glinda made me laugh a few times! The four cast members bounced off each other to keep the flow going throughout the night and were there to support the guests if we got into any confusion about how to solve the given puzzles. There were lots of puzzles to be solved as a team (your country), and this was one of the highlights of the experience! I didn’t find the puzzles too difficult – think Escape Room meets family friendly World of Oz, and you can understand the fun to be had when working together with other people. I was on a table of five, but this number can vary, depending on the number of guests on the night. The puzzles were cleverly thought out to space separately the places where we went to complete the challenges.

Dorothy in Oz, An Immersive Cocktail Adventure, wasn’t your typical sit-down theatre performance. Instead, it was an interactive experience where guests became part of the story. Without giving too much away, it turned out to be a wonderfully fun journey into the Land of Oz that will captivate everyone, from the young to the young at heart. Although it has ā€˜cocktail’ in the title, the experience also caters for non-drinkers and has family friendly sessions, which will suit younger guests who have curious minds and wonderful imaginations.

If you want a diversion in our busy and hectic world, use your wits then relax with a delectable whisky-based cocktail, transport yourself to Marrickville Town Hall this September! For Sydneysiders, my message borrowed from The Wizard of Oz is ā€œIf I ever go looking for my heart’s desire, I won’t look any further than my own backyard.ā€ Explore your own backyard and book tickets to this experience, before the tornado hits town!

Season Run: September 3-28, 2025
Venue: Marrickville Town Hall
Run Time: Approximately 1 hour 20 minutes
Tickets: www.dorothyinoz.com

To book tickets to Dorothy In Oz: An Immersive Cocktail Adventure, please visit https://www.dorothyinoz.com/.

Photography: Phil Erbacher

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A Deep, Beautiful, Brave and Vulnerable Piece of Performance Art

Once In A Blue Moon

Once In A Blue Moon Rating

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ā€œOnce in a Blue Moon,ā€ created and performed by Tala Issaoui as part of PYT Fairfield at the Sydney Fringe Festival, delivers a brief yet densely layered experience that fuses dance, ritual, and evocative visual storytelling.

Spanning just 30 minutes, Issaoui’s multidisciplinary performance beckons the audience into a shifting world of transformation. It’s a melancholic trilogy told through patterns, transitions, and potent symbolism.

The work opens with a striking video projection: Issaoui’s dance, rendered in cinematic hues and fluid imagery.

The transitions between film and live presence feel seamless, as the artist materialises onstage before a circular altar adorned with pebbles, an urn, and a pair of goblets.

The artist’s movements around this circle are cyclical and deliberate, blending ritual with choreography in a way that bridges the personal and the universal, with the lights, sound and music complimenting each phase.

Throughout, imagery and symbolism abound; the veil, for instance, which seems to float between meanings, might connote marriage, transformation, or transcendence.

The rhythmic motions, paired with dynamic lighting and a soundscape of often eery music, build tension and drama: thunder and lightning suggest fear and elemental power, while the act of dousing with water feels like a physical release, mourning, or rebirth. Texture becomes tangible as exaggerated makeup begins to spill down Issaoui’s face, accentuating the emotional intensity and the sense of unravelling.

 

 

The performer’s precision timing is key, with the crafted sound and lighting cues. These multi-dimensional effects surround the audience with layers of sensation, blurring boundaries between dance, ritual, and visual art.

Patterns repeat and modulate, symbolising repetition and cyclical pain, while the pace of the piece builds into a crescendo of melancholy.

Issaoui is visibly moved by the work’s close, punctuating the experience with authenticity and emotional depth. The ritual ends not with clear answers, but with a shared sense that something profound, if hard to articulate, has transpired.

While ā€œOnce in a Blue Moonā€ may not suit every taste, I found myself admiring the precision and vision more than personally connecting with its abstract ethos. It stands as a compelling example of experimental performance in Western Sydney. The blending of film, choreography, sound, and symbolic staging delivers a textured, esoteric meditation on grief, transformation, and spiritual passage. Issaoui’s willingness to traverse the boundaries of art-form and narrative ensures this work is both brave and memorable. I admire and am in awe of the power of the personal artistic risk and wholehearted embodiment.

Recommended for those ready to meaningfully engage with experimental theatre. It is a deep, beautiful, brave and vulnerable piece of performance art.

To book tickets to Once In A Blue Moon, please visit https://sydneyfringe.com/events/once-in-a-blue-moon/.

Photographer: Benjamin Tiger La

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