Ms Julie Gabler: Trapped

Ms Julie Gabler: Trapped

Ms Julie Gabler: Trapped Rating

★★★★★

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Ms Julie Gabler: Trapped is a reimagining of Shakespeare’s Othello, set in a modern Australian household with a diverse cast of intense characters.

Handled with an unapologetic honesty, the two act play explores the power dynamic between an interracial, heterosexual couple, delving into unflinching portrayals of domestic abuse and generational racial trauma.

All the characters in the play are professional actors who structure their lives around their love of theatre. The tone of the play is instantly set in the first scene when, while rehearsing for an audition for Othello, Robert actually attempts to choke out his partner Julie, causing her to knee him in the groin to break free. Tensions rise rapidly when Julie receives that role of Desdemona but their friend Mal receives the role of Othello instead of Robert, causing Rob to spiral into a violent rage fuelled by jealousy and paranoia.

 

 

Julie, portrayed by Ruth Gilmour, brilliantly expresses the trials of a woman trapped in a bad situation, through sobbing, bribing and desperate pleas towards her partner. Her moments of silence and stillness where Julie has completely emotionally detached herself truly evokes the pain experienced by an unfortunately rising number of women in this country. Gilmour’s role is beautifully balanced by Lenny Cullen Gorman who brings a touch of lightheartedness to his scenes while still maintaining the importance of the messages he is portraying.

However the atmosphere of the entire production is dictated by Sermsah Bin Saad who plays Robert. His erratic, almost constant presence leaves audience members feeling edgy and unsafe, an experience that is amplified by the live soundscape being created in front of them by Cansu Ceren Gonen, Terry Novel and Zac Rose.

Set on a single minimalistic set, the brutal nature of this play and its unflinching portrayal of domestic abuse is sure to linger in the minds of audience members, long after the final curtain.

To book tickets to Ms Julie Gabler: Trapped, please visit https://www.theatreworks.org.au/2025/ms-julie-gabler.

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Blood Wedding: Picking at a Scab Until it Bleeds

Blood Wedding

Blood Wedding Rating

★★★★★

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4

Bloody and haunting, Blood Wedding is a tale of star-crossed lovers, and the carnage that begets their ill-fated romance. This play is chilling, a glimpse into the isolation in the wake of war and how pain and jealousy can amalgamate into complete and total hatred.

Blood Wedding is an exceptionally well written story, riddled with characters each in a unique state of hurt, so much so that, despite the fore-shadowing of the play’s title, it’s still shocking and saddening to see the final confrontation play out. Director Deborah Leiser-Moore brings the script to life by highlighting this pain and isolation through an attention to motion and the physical division of the set. Key scenes take place without dialogue, with the character’s emotion expressed solely through the body. The play concludes with a bloody fight, played out as if in slow motion, each strike by the male leads aching as they fight for their final act of honour. Creative choices like this allowed the audience to hurt with these characters and crawl under their skin to feel their pain in these titular moments.

JMC presents some striking talent in this production, particularly Mia Connoli and Teresa Giansiracusa. I connected the most with these two characters and was blown away by how much each character wore their hearts on their sleeves. Mia Connoli as leonardo’s Wife has a beautiful voice, and her vocals added a beautiful haunt of mystery as the plot reveals itself. Teresa Giansiracusa as the Bride was heartbreaking as the lead, presenting a palpable inner conflict, especially during her monologue she performs in the bath, the morning of her wedding day. Dion Zapantis as Leonardo Felix was also fully committed, and brought an electric physicality to his performance.

 

 

My favourite part of the show was the soundscape. Aside from a few more upbeat songs breaking up the tragedy of the performance, the score was a series of evocative, echoing vocals that really dig into your chest. At the start of the wedding scene, these were incredibly powerful, especially watching as each actor flowed silently between the mixed emotions of the wedding. These vocals sprinkle through the show and despite the warm lighting, evoke a cold atmosphere and a fascinating juxtaposition.

I loved the staging choices; the elevation of Teresa Giansiracusa’s character at the beginning, high and unattainable, but feeling severed and alone. I loved how Mia Connoli’s character stayed predominately in the dark, shadowed beneath the platform suspending Giansiracusa and her baby, at the back in the deepest pocket of the stage, long forgotten by Leonardo Felix. Tess Lynch Steele as Mother manning the front corner of the stage with her brutal onion station, mourning the loss of her son and husband but expressing it only through a wish for further bloodshed. The set feels unfinished and raw, complimenting the story and working in favour of the show, allowing the performances and physicality to be what shines through.

Blood Wedding is a show that picks at a wound until it bleeds; a stubborn, yet brutal portrait of masculinity under the patriarchy and its collateral damage.

To book tickets to Blood Wedding, please visit https://www.theatreworks.org.au/2025/blood-wedding.

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Breaking the Castle

Breaking the Castle

Breaking the Castle Rating

★★★★★

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Creating a successful one-man show is a Herculean task. It requires an enduring assurance of self, vigour of spirit and bold leaps of faith. If you have furthermore chosen to stage an autobiographical story, then the courage and confidence that is required of you is tenfold. Writer and performer Peter Cook has achieved great critical acclaim and impressive mileage from his one-man play Breaking the Castle currently showing at Theatre Works until the 19th of July. Since its premier on the Canberra stage in 2020, this show has undergone a few iterations and is promised to continue developing. If you don’t manage to catch it before the weekend, just quickly zip over to the Sydney Opera House where it will be showing from the 23rd to the 26th of July. Or keep an eye out for the film that will be sure to come out soon.

Upon entry the audience is greeted with a thrust stage (pun intended) designed by Raymond Milner. A menagerie of detritus from half-eaten takeaway containers, books by Shakespeare, alcohol bottles and lines of cocaine litter the space. Eminem’s proclamations of strength and grit fill our ears as we find our seats in one of three sides of the audience. It starts and we begin the journey of this man’s struggle with addiction, ambition and self-actualization.

 

 

Enter Davey: an aspiring actor who loves Shakespeare, one-night stands, alcohol and drugs. But this love affair comes at much too high a price. The cost of numbing yourself from unprocessed trauma means that you also lose touch with reality and who you want to be. To be or not to be, indeed.

Each emotional beat of this performance can be credited to director Dr Bridget Boyle and her keen eye for blocking and pacing. There is a strong sense of honest collaboration between the director and writer/ performer and this relationship of trust shines through onstage. You can almost see Boyle’s invisible guiding hand as Cook moves through the space, embodying various characters and voices. The use of Kimmo Vennonen’s soundscape and Ben Hughes’ lighting design further accentuated each dramatic moment as they transpire.

Breaking the Castle is earnest, defiant and deeply personal. It is no easy feat to present your life and bear the vulnerability of self reflection. Yet at its core, this show is about knowing the life you want and daring to pursue it. I wish Peter Cook all the best of luck in finding more things that he likes about himself and the beautiful journey that lies ahead.

To book tickets to Breaking the Castle, please visit https://www.theatreworks.org.au/2025/breaking-the-castle.

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An Unlikely Couple

Waterloo

Waterloo Rating

★★★★★

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3

‘Waterloo’ is modern day theatre from clever performance artist, Bron Batten, a multi award-winning Australian performer, theatre-maker and producer, in collaboration with non-artists and audience members. (Outside Eye Direction by Gary Abrahams.)

From the people who created ‘Onstage Dating’, ‘Waterloo’ turns their observations inward, exposing us to Bron Batten’s ill-fated affair and deconstructing the ideological distance between right and left.

This unique show explores what happens when a self-confessed “lefty, Greens voting, almost vegan theatre artist” dates a right-wing, cigar smoking Margaret Thatcher-loving Tory soldier. Batten met this “2nd protagonist” when she was on an arts residency in Paris in 2015 – and he turned out to be a conservative, highly decorated, high-ranking UK military official. Clearly, they had different political views yet found an intense connection and their time together formed the core narrative of Waterloo.

Batten tells us this story as one would tell a friend about her unlikely romance, a couple obviously drawn to each other in ways just as unknown as the violence we bury our heads in the sand about daily. With her warmth, creativity and truthfulness, often heavy themes of love, war and politics prove easier to digest than they first sound.

Developed in Maubourguet France, with Vitalstatistix Incubator Residency in Adelaide, a creative residency at Brunswick Mechanic’s Institute, Melbourne, with an Arts House Development Award and North Melbourne Stalker Residency, and then at Melbourne Fringe in 2019, while still morphing, this edgy piece has won awards in Melbourne and Perth and won the Summerhall Edinburgh Fringe Touring Award, in 2019.

 

 

You’ll find Waterloo strangely entertaining and thought provoking. You’ll be thinking on it for days afterward, even questioning your usual beliefs. As the daughter of a Lieutenant Colonel, my beliefs seemed lonely in a room full of students and Arts workers, but Batten wrote her questions to the audience so well, I’m sure they were also surprised at some of the final audience views.

Batten said in a recent interview she “Hoped the work would provoke reflection and discussion amongst the audience and perhaps a healthy debate in the car on the way home.” I believe her hopes have become reality.

That’s the beauty of Waterloo. Moments of divisiveness lead to moments of poignant clarity, followed by moments of humanity and the realisation we are all connected and desire human connection.

This production is not only enjoyable, it’s important, giving those of us on both sides of politics a safe space to debate our differences, respectfully.

Bron’s work has toured throughout Australia, New Zealand, the USA, France, the UK, Germany, the Czech Republic, Lithuania and Romania and has been presented at festivals and venues including The Soho Theatre London, Summerhall Edinburgh, Komedia Brighton UK, The Prague Quadrennial, Performing Arts Festival Berlin, RISING, Darwin Festival, Brisbane Festival, Dark MOFO and the Edinburgh Festival Fringe.

Founded in 1979, Theatre Works is an independent theatre group with a lot to say. Check it out. Waterloo plays at Theatre Works – 14 Acland Street, St Kilda – from 8th to 12th July, 2025.

To book tickets to Waterloo, please visit http://theatreworks.org.au/2025/waterloo.

Photographer: Lucy Parakhina

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