Contest: A Bold, Immersive, And Unforgettable Story

Feature-Contest

Space Jump Theatre Company invites audiences into the searing poetic intensity of Contest by Emilie Collyer. Running from 17–28 March 2026 at Flight Path Theatre, 142 Addison Road, Marrickville, this production delivers a taut, electrifying theatre experience, where power, endurance and the cost of competition collide on the court and beyond.

About the Production: The game slows. It’s a dance. A memory, a dream, the body remembers. Muscles tense and release, bones anticipate the landing after the leap we can do this in our sleep. We Play on.

When a new player, Cass, joins a suburban netball team, the fragile balance of the group shifts. She sees what others cannot or will not, and her truths, quietly spoken, ripple through the team. Secrets, unspoken grievances, and long-held frustrations rise to the surface, turning every pass, pivot, and collision into a reckoning.

Set entirely on the netball court, Contest, written by Emilie Collyer and produced by Space Jump Theatre Company, immerses women of every age, shape, size, and ability in a world governed by rules, expectation, and relentless pressure. Bodies move side by side, sweating, enduring, testing limits. The game becomes a powerful metaphor for resilience, courage, and endurance, both on and off the court, capturing the subtle, fierce, and unrelenting ways women persist.

Blending stylised movement, poetic dialogue, and raw physicality, Contest is a bold, immersive, and unforgettable story of connection, rivalry, and the extraordinary endurance of women. Every moment on the court resonates with intensity, intimacy, and the unflinching reality of human emotion.

But what still aches after the whistle blows?

Synopsis:
When new player Cass joins a suburban netball team, long-held tensions surface, and every pass, pivot, and collision becomes a reckoning. Set entirely on the netball court, Contest captures the fierce, subtle, and unrelenting ways women persist.

Event Details:
Dates: 17 – 28 March, 2026
Venue: Flight Path Theatre, 142 Addison Road, Marrickville, Sydney
Tickets: Available at www.flightpaththeatre.org
Run time: approx 75mins

Cast: [alphabetical]
GS: Melissa Jones
GA: Willa King
C: Suz Mawer
GD: Emma Monk
WA: Lana Morgan

Creatives:
Production Company: Space Jump Theatre Company
Playwright: Emilie Collyer
Producer: Kirsty Semaan
Director: Kirsty Semaan
Movement Director: Amelia Pawsey
Lighting Design: Theo Carroll
Composer/Sound Design: Charlotte Leamon
Set/Props Design & Construction: Jason Lowe
Production & Movement Assistant: Danette Potgieter
Tech Operator: Eliza Dodd
Promotional Video: Yarno Rohling
Marketing Images: SPbyKS

Production Highlights:
Idea-Driven Storytelling: A bold, immersive exploration of pressure, rivalry, and endurance, where every pass, pivot, and collision is charged with physical tension, revealing the subtle, relentless ways women persist.
Minimalist Design: A simple netball-court set and striking lighting turn movement into memory, dream, and dance, making every leap, stretch, and fall vividly felt.
Tension and Insight: The arrival of Cass, named after the Greek prophetess cursed to speak truths no one hears, disrupts the team’s fragile balance, exposing secrets, grievances, and unspoken power dynamics.
Kirsty Semaan’s Direction: A physically rigorous, poetically precise interpretation that captures courage, vulnerability, and the quiet ferocity of women on and off the court.
Space Jump Theatre Company’s Mission: Committed to presenting bold, thought-provoking theatre for, by, and about women that resonates, challenges, and lingers.

Content Warning:
This work contains strong language and references to sexual content, domestic violence, suicide, eating disorders and mental health challenges.

Sensory Warning:
The performance includes the use of theatrical haze and loud noise.

About the Director:
Kirsty Semaan (she/her) is a director, producer, and theatre-maker based on Gadigal Country (Sydney), with a passion for bold storytelling and visually striking stage productions. As the founder and Artistic Director of Space Jump Theatre Company, she is dedicated to championing Australian playwrights, amplifying female and underrepresented voices, and bringing impactful plays off the shelf and back onto the stage. Her directing credits include Woyzeck (2021), A Mouth Full of Birds (2022), and Driving the Holden (2022). In 2023, she co-produced and directed Long Story Short, a sold-out short-form theatre project. Most recently, she served as Assistant Director for Blood Wedding at Flight Path Theatre (2024). A Theatre and Performance graduate from the University of New England, her creative approach is further enriched by a successful 20-year career running a photography business, which has provided her with a unique perspective on visual storytelling and the expertise to deliver well executed productions from start to finish.

About the Playwright:
Emilie Collyer lives in Naarm/Melbourne on Wurundjeri Country and writes across poetry, performance, and prose, exploring the intersection of the personal, the existential, and the socio-political. Her plays include Contest, Dream Home, The Good Girl, and most recently Super (Red Stitch Theatre 2025), with The Good Girl having been produced internationally. Her work has won and been nominated for awards including the Theatre503 International Playwriting Award, Queensland Premier’s Drama Award, Green Room Awards, George Fairfax, Patrick White, and Malcolm Robertson. Emilie’s debut poetry collection, Do you have anything less domestic? (Vagabond Press 2022), won the inaugural Five Islands First Book Prize, and she was runner-up in the Gwen Harwood Poetry Prize 2024. She works as a dramaturg, text consultant, and teacher, and has just completed her PhD at RMIT, where she now serves as an Adjunct Industry Fellow.

About Flight Path Theatre:
Located in Marrickville, Sydney, Flight Path Theatre champions bold and innovative works, providing a platform for emerging and established artists.

Contest is supported by the Inner West Council and through the Australian Cultural Fund.

Experience the sweat and intensity of Contest at Flight Path Theatre, 17–28 March 2026: www.flightpaththeatre.org

 

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The Many Faces Of Sherlock Holmes

A Night Of Sherlock Holmes

A Night Of Sherlock Holmes Rating

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4

Nestled in the burbs of New Farm is a church and in that church is the very vibrant Nash Theatre. Each year they produce a radio play – well, extremely well.

A simple set with actors dressed appropriately for the era (1930’s), mircrophone stands at the front of stage and the ‘On Air’ sign glowing with the “Applause” sign lighting up to remind you that you are part of a studio audience – it is marvelous.

But best of all is the live action foley – set up along the back of the stage were three foley artists and I have to say, the horses and carriage sounds – spot on. Congratulations to Mark Corben, Lara and Emma Latham who entertained us with their enthusiasm, facial expressions and creative techniques – yes, I am still giggling at the Baboon.

I often listen to the Sherlock plays on Spotify and I was pleasantly surprised to hear a new one among the mix; ‘ The case of the Blue Carbuncle ” – hilarious. With the actors playing a range of characters from the vagabond thief to the well educated Sherlock and Watson.

Presenting old time radio shows is a great way to entertain an audience without elaborate sets. The stories rely on the actors ability to react appropriately without props, and once again, director Jason Nash has produced excellent work. The American and English accents on the whole were consistent and added to the believability you truly had stepped back in time to the 1930’s.

 

 

The roles of Sherlock and Watson were shared amongst the cast which took each story to a different era and there were some interesting accents. Caleb Hocking’s Watson accent for “A Scandal in Bohemia” was definitely unexpected but very humourous and Bruce Edgerton has definitely found his niche with the different characters you find in radio plays. King of Bohemia suits you Bruce.

Radio plays have advertisements and the cast brought these to life very much reminiscent of an era where entertaining folks was simple and mixed with a good dose of humour.

The actresses on stage, Sandy Adsett, Jenny Bonney-Millett and Kiah Latham were immaculately dressed and authentic with their characters, it definitely was a more glamourous era. Bright red lips, pearls, diamonds, heels and furs, they each delivered applause worthy performances and it is a joy to go to a play where you can hear what people are saying – great diction, accents and expression.

The first story, ‘The Adventure of the Speckled Band,” was delivered with the emotion and mystery that set the actors up for a great show run, drawing in the audience and giving us all the shivers at the end. The stories were broken up by the jingles, which also offered great entertainment.

So if you are looking for good quality well priced entertainment here it is, take along a friend and enjoy the show.

Show runs until the 14 March, at Nash Theatre 52 Merthyr Road, New Farm

Tickets via Trybooking – https://www.trybooking.com/events/landing/1490448

To book tickets to A Night Of Sherlock Holmes, please visit https://nashtheatre.com/.

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Casey Filips: Virtuoso

Casey Filips: Virtuoso

Casey Filips: Virtuoso Rating

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My favourite part of Fringe each year, is walking into a show blind. Purely based off reviews from friends, a cool poster, the fringe feed, anything – I love not at all knowing what to expect, and being totally surprised. Casey Filips: Virtuoso is the perfect example of this.

A one man play of sorts, we follow the eccentric Tobias Frazier-Finlay through the audition of a life-time. Now, I want you to picture every exuberant, quirky, dramatic character you know combined into one, and that’s the kind of guy we’ve got. Mr. G, Sharpay Evans, even a little Miranda Sings it’s all in there.

The black-box rehearsal room at the State Theatre centre sets the scene perfectly, with Tobias strutting in from the back of the room as if really entering an audition. As with any standard casting call, he opens with a bit about himself, and of course his headshots, giving us a quick taste of his skillset (of which there are many!).

 

 

We then jump into a scene read, where he of course displays his natural ability to take notes from the panel (or in this case audience!). Naturally, hysteria ensues. I was amazed by Filips’ ability to not only perfectly mimic audience members but seamlessly taking on their daring requests.

For his final display of talent, we are treated to a – rather interesting – self-devised piece inspired by the majestic life of a manatee that left audiences doubled over with laughter. A big shout out must of course go to the gentlemen called upon to form part of the demonstration, the true star of the show (much to Tobias’ dismay).

Audiences also enjoy brief glimpse into Tobias’ future and where his career lands, a perfect crescendo for a man whose clearly given his life to the arts, but I’ll keep the exact details a secret for audiences to enjoy.

If you ever remember being told by your drama teacher “you have to fully commit to the bit, doing it 50% makes you look more ridiculous” this performance is a fine example. Offering a barrel of laughs and complete and utter tom-foolery in the best way possible from begin to end, this is a fringe favourite certainly not to be missed. Perfectly titled, Filips’ in fact, a Virtuoso.

To book tickets to Casey Filips: Virtuoso, please visit https://fringeworld.com.au/whats-on/casey-filips-virtuoso-fw2026.

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Have They, Won’t They: Es & Flo at the Old Fitz

Es & Flo

Es & Flo Rating

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2

It took until 2013 for gay marriage laws to pass in England. Although it may feel like we’ve made strides towards change, in a lot of ways, queerness had a bright, shining five to seven years in the sun before it began to slide backwards again in modern politics. Es & Flo is a little bit about this – and why marriage is such an essential part of the fight – but it’s also mostly about the complexity of lifelong relationships, and the intimate sense of loss and betrayal we feel when someone we love begins to slip through our fingers.

Emma Canalese has set this show in the warm and familiar home it deserves, one yellowed by years of adoration and care. One that the characters on stage are also deeply familiar with. Such, the threat of losing the home and those inside it becomes all the more raw and uncomfortable. As the piece progresses, the sense of belonging we feel in this quiet home becomes more and more disturbed – video and audio of protests and conversations merging in a way that creates a cacophony that we’re both threatened by, and desperately want to understand.

 

 

Annie Bryon delivers something that truly hits close to home with Esme. Maybe it’s the unending patience and devotion to the childlike wonder of Kasia, or maybe it’s the disquieting hysteria of an older person’s confusion. Either way, it’s difficult not to think of some of ours in our own lives. Bryon evolved spectacularly in the second half, particularly in the more subtly brutal moments. Fay Du Chateau in return gives us something quieter, smarter, but nevertheless slipping into a panic she can’t understand either, as the stability of her entire world begins to fall apart. Her physicality in gesture, and her willingness to play in the discomfort of the piece makes her performance really something special. Charlotte Salusinszky as Biata is a lovely empathetic,\ but realistic edge, bouncing off of Chateau in a way that humanizes and deepens both of them. Erika Ndibe brings a whimsicality that lifts the piece to its feet in a way it often needs, along with providing the quiet tragedy of not understanding why Es and Flo aren’t allowed to be open in their love for each other. Eloise Snape provides some truly impressive comedic work, and toes the line of insufferable and sympathetic with true finesse.

In a piece centered around relationships, it is only natural that this is where the production shines. All the cast have undeniable chemistry with one another, and their bonding allows the piece to focus the audience into the heartache of the micro of a dementia patient, and the macro of internalised homophobia. There are some brief blips of conviction and blocking, but in a piece as intimate as this one, where it almost feels like we’re voyeuristically spying into someone’s living room, these odd moments smooth over for the most part.

Familiar, and unforgivable, sympathetic, and pathetic; Es & Flo walks the tight-rope of a shame and desperation we as a modern queer collective feel off put attaching ourselves to, whilst demanding that we understand why. As the curtains close, I can say I was reminded all too honestly of the path forwards – especially as those who fought for our freedom begin to age out.

To book tickets to Es & Flo, please visit https://www.oldfitztheatre.com.au/es-flo.

Photographer: Robert Catto

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