The Anarchy 1138-53, presented in KXT on Broadway, is like walking into a narrated RPG walkthrough that spans levels of anarchy, death and destruction!
The stage is a mirrored walkway where the mirror is at once a reflection in water as you travel through the oceans on an imaginary boat before becoming the beach where you are shipwrecked, as enemies swoop in, dragons fly and various characters aim to destroy you.
The imaginary RPG campaign you find yourself in is set in Britain, or another dystopia where anarchy prevails and suffering is a plenty - this is the 'Crossworlds Universe', narrated by two hyper-verbal guides whose stamina is as relentless as their script.
While in regular theatre productions the actors play out the scenes, in this play it is mostly just narrated, with moments of re-enactment and audience interaction being a much needed respite from the tyranny of the spoken words that flow out of both actors at astronomical speed.
As the story progresses you from the 'tutorial' and through the myriad of 'levels', it becomes one level too many, and this 135 minute no interval play, begins to resemble a notoriously long boss fight—technically impressive but emotionally numbing.
Though the dark, punk world the play creates is intriguing and the production is inventive and daring, the overall experience is somewhat languished and the script feels a little too self indulgent.
Sometimes some levels are best left sans walkthrough, for the gamer to navigate, even if that means dying and respawning a few times.
This production of Chicago by Tall and Short Theatre Co delivers the show’s signature sharp cynicism with an especially bold edge, amplified by a small, versatile cast playing multiple roles as well as minimal costumes and set. These choices not only showcases the actors’ range but also deepens the show’s inherent themes of duplicity and moral ambiguity, underscoring the story’s cynical view of fame, justice, and human nature.
Michael Astill’s portrayal of Billy Flynn is a highlight, delightfully sleazy and utterly captivating. His numbers sparkle, particularly the brilliantly coordinated and high-energy “We Both Reached for the Gun” with Katie Wallis as Roxie. Astill’s commanding presence during the trial scene truly owns the stage, driving the drama with a magnetic intensity that resonated strongly with the audience.
Katie Vials shines with her singing, especially in “Roxie” and “Funny Honey,” bringing depth and nuance to her roles. Amelia Smith’s quiet tragedy as Hunyak adds a poignant contrast, while Willow Twine’s bold and wild energy as Velma injects thrilling dynamism into the dance sequences.
Elizabeth Ellis gives a memorable performance as Matron Mama Morton, skillfully capturing the character's dual nature. On one hand, Morton is as calculating and transactional as Billy Flynn. But Ellis also brings genuine warmth to her interactions with Velma and, most touchingly, with Hunyak—moments that suggest real affection and loyalty beneath the surface. It’s the duet Class with Velma that truly reveals the character’s vulnerability.
Nathaniel Lawson brings a gentle sincerity to the role of Amos Hart, providing a much-needed emotional anchor amidst the show’s swirling satire. Apparently playing against type, Lawson’s portrayal is refreshingly understated, allowing Amos’s quiet dignity and hurt to shine through. His rendition of Mister Cellophane is performed with real heart — not played for laughs, but as a sincere, aching moment of loneliness and invisibility.
The choreography is exceptional — not only skillful and vibrant but notably inclusive, featuring Liam Liff performing in a wheelchair, marking a powerful and inspiring first for this production. The ensemble’s tight coordination and spirited movement bring the show’s biting satire to life.
Overall, Tall and Short Theatre Co’s Chicago is a compelling, razor-sharp musical experience that balances cynicism and spectacle, buoyed by standout performances and inventive staging.
Mothers are supposed to feel an instant, unbreakable bond with their newborn child; or at least, that’s what we’re led to believe. Austrian director, Johanna Moder’s new film, Mother’s Baby, bleakly reminds us that this isn’t always the case.
Forty year old music conductor Julia (Marie Leuenberger) and her loving husband, Georg (Hans Löw), desperately want a baby. When nature doesn’t deliver, they seek the help of Dr Vilfort (Claes Bang), a renowned fertility specialist. In Vilfort’s pristine private clinic, Moder introduces early on an axolotl, a strange looking amphibian that catches Julia’s interest but comes to haunt her (and viewers) later in the film.
With Dr Vilfort’s treatment proving successful, Julia and Georg wait expectantly for the birth of their longed for child. Yet the birth is a difficult one. The baby is whisked away by a medical team as soon as it is born. Moder captures Julia and Georg’s muted shock as they are kept in limbo waiting to meet their baby. When Julia finally gets to hold her baby, she seems underwhelmed, even detached from the child. Julia’s struggle to breastfeed only heightens her disappointment. An overly zealous midwife played by Julia Franz Richter doesn’t help as she pushes Julia to bottle feed instead.
Once home, Julia, long used to being in control in her professional life, continues to struggle to bond with her baby. Usually surrounded by music, the weirdly silent baby she has birthed, starts to unnerve her. Is there something wrong with the child or is Julia paranoid? Hans’ instant bond with their son, who Julia persists in referring to as ‘it’, adds to Julia’s distress.
In one particularly tense moment, Hans returns home from work to be greeted by the sight of Julia engrossed in her music, oblivious to her unfed baby. Julia’s sudden identity shift from world class conductor to stay at home mother has hit her hard. Hans fails to understand, reminding Julia as they argue that ‘It’s what we agreed!’. Is Julia’s lack of maternal connection with her baby a tell-tale sign of postpartum depression or is there something more sinister at play?
Increasingly frustrated by Julia’s unexpected reaction to new motherhood even the normally placid Georg starts to doubt his wife’s mental stability. Returning to Dr Vilfort, Julia insists there is something wrong with her baby, demanding answers from the preternaturally cool physician. In what smacks of medical misogyny, Vilfort condescendingly suggests Julia is the problem. We cringe as Georg joins cravenly with the doctor in agreeing that Julia needs help.
Moder’s psychologically chilling story of new motherhood achieves its aim of unnerving its viewers so that they feel vicariously the altered reality of the postpartum phase. Billed as a dark comedy, the film is inconsistent in creating humour; nonetheless, Moder is successful in capturing the absurdity of motherhood in a world which continues to unfairly insist on idealising maternity.
Greetings, theatre enthusiasts! Today, we're delighted to feature a star from the upcoming production of Eureka Day at the Reginald Theatre. Our guest has journeyed through diverse characters on stage and screen, bringing a unique blend of charm and depth to every role. As we gear up for the show's premiere, let's dive into the world of our talented actor and discover their passion for the craft.
About Deborah An
Why do you want to be an actor?
From the age of six, I wanted to be everything when I grew up: a ballerina, an astronaut, a teacher, police officer, mermaid, lawyer, veterinarian, painter, pilot. You get the idea. Everything. Around the age of 10, I discovered the reason I wanted to be all these things was because I saw them in movies. It was then that I realised the only profession I could pursue that would allow me to be all of these people was acting. But don't get me wrong, I still – and on a sometimes regular basis – consider changing careers. The thing is I always come back to acting. And let's be honest, we can't all be Jonny Kim (Google him if you need to).
What do you enjoy most about acting?
When you step into a character, you have no choice but to see the world through their perspective. Sometimes your character holds similarities to you as the actor, but when they don't, it's a challenge. Even more than a challenge, it's an opportunity to confront your own ideals, worldview and sometimes fears. No matter who the character is, I always walk away at the end of a production feeling like I've evolved as a person, and that's what I love about acting.
What has been your favourite role so far in your career?
This is such a tricky question! If I had to choose one, it would be Min Jee in Night Bloomers on SBS. It was the first time I spoke Korean on camera and also the first time I died on camera! Don't worry, it's an anthology, that wasn't a huge spoiler. The whole creative team, the writers, directors and most of the actors were all Korean and that was pretty special to me.
What do you think makes a performance most believable?
This is something I struggle with in my day to day life, but I think LISTENING. When you stop just hearing the words someone else is saying because you're too busy trying to think of what you're going to say next, and start actively listening, it makes you present and responsive. But to be honest it can actually be quite exhausting. Haha.
How do you maintain your physical and emotional health while working on demanding projects?
Prioritising the basics like eating and sleeping well, I find, goes a loooong way. Outside of pure survival though, if I know I'm going to be flat out for X period, I'll let my friends know I won't be seeing them for a few weeks, or in some cases months. I can be quite an introvert, so the last thing I want to do after a long week is socialise on the weekend. My friends know me well enough by now not to take it personally. Bless them. Physically, I like walking my dog to the park or beach, which helps emotionally too. I also love cleaning the house and meal prepping, so that becomes almost a meditative ritual for me. I think it comes down to knowing what you need and scheduling time for that.
Is there anything else you'd like to add?
Outhouse Theatre Co and Seymour Centre present Jonathan Spector’s 'Eureka Day' at the Reginald Theatre from 29th May to 21st June!
Where can patrons purchase tickets to this production?
Thank you so much for sharing your incredible journey and insights with us! Break a leg in *Eureka Day*; we can't wait to see you bring the Reginald Theatre to life. Cheers to an amazing run!
