Theatre - Whats The Show

Seed Hunters – A Global Movement for a Better World?

19/10/2025 Linda Lokhee🏆💎🔥🦉🎭

Seed Hunters Rating

★★★★★

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What if the world we live in could be peaceful? This is one wish that many people, me included, could hope for in our lifetime. What if people could make this happen by conceiving children who will become men who are less aggressive and less of the “toxic tough guy”?

Scene Theatre Sydney’s play, Seed Hunters, made its premiere debut at the Pitt St Uniting Performance Space, and this question is one which is explored by a group of women. They are known as “Seed Hunters”. This is a movement of women from all over the world who, based on science, they believe that men of mixed ancestry are more likely to be more intelligent and less combative.

Set in Peking in 1976, students are invited by the Chinese government into a post-Mao world. It’s here that Rosa (portrayed by Fabiola Pellegrino) attempts to seduce a young Australian named Bob (played by Micah Doughty). Nearly 40 years later in present time in Australia, Bob discovers his niece Bridget (portrayed by Julia Grace) is a part of the Seed Hunters movement.

Julia Grace delivered an earnest and compelling performance as Bridget, capturing her youthful idealism and determination. She investigates women’s groups in ancient Greece, the Hopi Indians in Arizona, and various other women who study men, all in search of the perfect match. Bridget befriends Larry (played by Oliver Harcourt) and the audience learns what it is she wants from him. (“I need Larry and his mixed-up genes”)

Meanwhile, Bridget’s sister Sarah (Madison Chippendale) returns home to be reunited with her. She has news of her own. Larry’s brother Jack (Theo Rule), a kids show host with no kids of his own, reacts with shock when he learns of Bridget’s plan. The girls’ grandmother, Dorothy (Joan Rodd), takes the opportunity to share her thoughts directly with her granddaughters.

There are a lot of characters in Seed Hunters – with a cast of eleven sharing the stage, telling their different stories interwoven with art, the stars and history. The director Melissa Paris reminds us that “the seeds of transformation are planted by real people…whether through protest, parenting, music, art or simply refusing to stay silent, their stories echo today’s struggle and dreams.” Themes of self-identity and grief were intermingled with family dynamics.

The cast also took on various tasks, such as turning pages on a stand positioned at one side that displayed the names of the characters’ locations. These titles might have been more visible if they were larger or positioned slightly higher. The staging featured multiple levels, and a sense of intimacy was achieved through the characters’ interactions along the central aisle. However, since the play took place in a large venue with a high ceiling, I occasionally had trouble hearing some of the dialogue. Seed Hunters sound and lighting designer Jay Murrin chose some songs which were beautiful, providing the perfect atmosphere that complemented the scenes.

On leaving this performance, there were a few discussion points that came up from this very interesting concept. What will this seed hunters movement evolve into, in the future? Is this the way leading to a peaceful world?

Seed Hunters was written by Australian playwright Carol Dance.
Season run: October 17 – October 26 2025
Venue: Pitt Street Uniting Church Performance Space, 264 Pitt St, Sydney
Duration: Approximately 105 minutes
Tickets: Students $35, Concession/ Senior $45, Adults $55
www.ticketebo.com.au/scene-theatre-sydney/seed-hunters

To book tickets to Seed Hunters, please visit https://www.scenetheatresydney.net.au/seed-hunters.

Photographer: Robert Catto

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The Weathering

19/10/2025 Tam Dahmen⭐

The Weathering Rating

★★★★★

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The Weathering is an extraordinary fusion of movement, sound, projection, and puppetry, a bold new work from Fusion Theatre’s inclusive ensemble that resonates long after the final moment fades into darkness. Directed by Darcy McGaw and Jo Raphael, this poetic and deeply human production transforms the urgent realities of climate change into a visceral, sensory experience.

From the first moments, the performers command the stage through their physicality. Their bodies become landscapes, trembling trees, surging waves, shifting winds — embodying both the fragility and ferocity of a planet under pressure. The use of light and darkness creates a haunting rhythm, as projections wash across the stage like passing weather fronts. At times, the performers seem to dissolve into these shifting visuals, blurring the line between human and environment.

The original soundscape adds another layer of emotional texture. Whispers of rain, the low rumble of thunder, and fragments of breath and song create a world that feels at once intimate and immense. The puppetry, too, is quietly powerful — delicate yet evocative, revealing the interconnection between people and nature in ways words alone could never capture.

What makes The Weathering so compelling is the way it seems to capture opposing forces in its grip. It holds space for both helplessness and hope, for the chaos of the storm and the calm that follows. The pacing shifts fluidly between frenzy and stillness, echoing the unpredictable rhythms of the natural world. There are moments of silence that feel deafening, and bursts of movement that feel like the earth itself is speaking.

At its core, this is a show with immense heart. It gives voice to those who are too often excluded from conversations about the climate crisis — voices that are essential, urgent, and profoundly moving. The ensemble’s commitment shines through every gesture, every sound, every flicker of light.

McGaw and Raphael have crafted a work that feels both timely and timeless. The Weathering doesn’t just ask us to think about the world we’re losing — it invites us to feel it, to grieve it, and ultimately, to imagine how we might begin again.

To book tickets to The Weathering , please visit https://www.theatreworks.org.au/2025/the-weathering.

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Ethnically Ambiguous

19/10/2025 Annie Zeleznikow🌟🎭

Ethnically Ambiguous Rating

★★★★★

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Ethnically Ambiguous is a silly and heartfelt comedy that explores three actors disappointing experiences as culturally diverse individuals in a shallow industry. Max Nunes-Cesar, Jo Malta and Zac Rose created and performed Ethnically Ambiguous as an exploration and presentation of their upsetting experiences as actors. This show contained a skit like format, moving between storytelling, faux game shows, musical numbers, and heartfelt monologues. This show also broke the fourth wall in frequently funny ways.

Ethnically Ambiguous contained a plethora of clever self-referential jokes and audience participation. The most powerful audience participation is the game of ‘guess the ethnicity’ with a wheel of origin as a practical gag. This worked well in combination with the actors and creators, it had an immediate and powerful impact on the audience. This skit was a clear and powerful moment of the actors creating tension, and using themselves and their experiences to cut the tension and connect with the audience.

The actors felt authentic, which makes sense given their roles as creators of the show, sharing their own experiences of the world. In particular, Zac Rose stood out as a powerful story teller, conveying his experiences and personal narrative in a touching and meaningful way. Rose was able to explore his ongoing feelings of shame and guilt, accepting that his ancestors were discriminated against because of the colour of their skin, and acknowledging that he carries the trauma of those experience, with the understanding that no one can see it, and he doesn’t experience it himself (due to his white passing presentation). Rose is told by his friends that “you choose what defines you,” as he decides to reclaim his sense of self, and falls into a space of acceptance.

The show’s theme of disconnection of perception and sense of self was well established and maintained. However, the show at times lacked direction and focus, with skits between the characters stagnating the pacing of the show. There were moments of the show that felt non-sensical. A sharp and clear perspective was missing at times, which meant the impetus of the show fell flat. As a result, the long-lasting impact of the show might not be as clear as the creators intended.

Acting is a visual and audible job, how you look and sound impacts how you are perceived, and although Nunes-Cesar, Malta and Rose don’t state it, to me it felt that it important to recognise and accept that there are things you cannot change, like the colour of your skin. This show reminded me that one’s sense of self, confidence, and acceptance of self should be tied to who you are, rather than the success you find in your career.

Ultimately, I came out of this show with the knowledge that pursuing a career in acting is risky, idealistic and irrational, and I’m glad Nunes-Cesar, Malta, and Rose are doing it.

To book tickets to Ethnically Ambiguous, please visit https://www.melbournefringe.com.au/whats-on/events/ethnically-ambiguous.

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Rate Of Decay

19/10/202518/10/2025 Amanda Harrison⭐

Rate Of Decay Rating

★★★★★

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Rate of Decay is an anthological Australian Gothic Theatre piece created and directed by Xanthe Jones. It totes itself as an ‘exploration into the shadows of the Australian Psyche’ and delivers eleven separate stories played by a talented cast of seven. Rate of Decay is a goodie bag full of delights, and some darker chocolates that leave a bitter taste in the mouth. Some segments are played for comedy, providing moments of levity whilst some scenes are heavy and tense. As a whole, it provides an entertaining journey across the far reaches of Australia.

Our opening scene explores a very natural feeling relationship between a young couple and some eventuating mysteries in the bush. This story felt like a tall tale told at the pub come alive, with eerie consequences. Tension built nicely across this cameo, however I would have liked to see a little more of the ill fated outcomes of the characters and the involvement of the old man. Triona Calimbayan-Giles captivates the audience with her performance and Peter Hatton plays an irritating yet good natured spouse. There was some issue understanding Hatton in this segment as his articulation could use some refinement to ensure we capture every beat of the dialogue. Next we are introduced to a concept called ‘Memory’ which is a beautifully written thriller. Alisha O’Brien steals the stage with an ernest and expressive performance, and Tom Pocilujko plays an annoyingly supportive brother. The beat shift at the conclusion of this scene was sublime, Xanthe Jones is a master of writing flawed Men.

The play then flows into ‘the interview’ which presents as a crime thriller set in a police station. Siena D’Arienzo does an exceptional job as ‘Marsha’ , a lost little girl, her performance felt perfectly innocent. Josephine Olton plays a straight talking detective while Will Kasper is a loose tempered wild-card. The twist in this segment was fun although the delivery fell flat, it felt over-explained. It also felt odd that Kasper remained after losing his temper, this might have concluded better if Kasper stormed out and Olton was left to hesitantly ask a final one or two questions. The play then introduces us to the absolute highlight ‘Castle Hill Lookout’ which explores three teenage boys mucking up in the bush. The comedic beats land perfectly and the nuanced drama and connections feel completely authentic. Jones writes a compelling and honest feeling dialogue between these young men. She expertly conveys their flaws, yet also their love for each other in navigating difficult subjects in a friendship. Hatton, Kasper and Pocilujko have great chemistry in this cameo, it left me wanting more of this relationship.

We are then taken to ‘Best in show’ set at a Dalby Pageant. This section felt mostly played for laughs with ‘cat fight’ coming to mind. It gives a small reprieve from the heavier themes and doesn’t feel like it serves much other purpose. Next we find ourselves in ‘Gold Fever’ which centres around two gold panners and one travelling woman. This segment lost some pace due to the attempt at heightened language, which occasionally felt like it detracted from the Australian feel. The scene did however contain some fantastic fight choreography, in fact all fight choreography in the play was crisp and well done. ‘The Love Spell’ is a fun albeit dark segment, however it didn’t always feel like the aggression between the schoolgirls was motivated or earnt. ‘Pine Gap’ was an enjoyable moment of levity providing some well placed opportunities for laughter.

‘Orphans’ takes us on a journey amongst three girls living at a Victorian orphanage. The chemistry between O’Brien, D’Arienzo and Olton feels ernest, keeping us drawn in. I would have liked to see this scene develop even more and use a more ‘show don’t tell’ approach but it was effective. ‘Believers’ had us at the dining table of a cult between the first wife and the enigmatic leader. This scene was compelling and worked well, although it did feel like certain shocking things were revealed with much weight at times. ‘Pray for us’ felt like a neat political statement about nuclear energy, leaving us on a slightly harrowing note.

Rate of Decay was an interesting experience that took us on many ups and downs. It had great fight choreography and the segments ‘Memory’ and ‘Castle Hill Lookout’ were masterfully handled. Jones excels at complex relationships and flawed characters. There was room for more exploration in some of these more intriguing scenes, while others seemed only for comedy or came up slightly short. All in all, an intriguing play that was well performed. The cast and crew should be commended on their efforts.

To book tickets to Rate Of Decay, please visit https://backbone.org.au/backbone-festival-2025-events/rate-of-decay.

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