Theatre

Brothers Bare

Brothers Bare

Brothers Bare Rating

★★★★★

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Tucked away in Theatreworks’ blink-and-you’ll-miss-it supplemental venue, the aptly named Explosives Factory, “Brothers Bare” explodes with creativity, menace, and an unnerving relevance. This darkly comic, sharply observant production takes the fertile soil of Brothers Grimm folklore and replants it in the uneasy terrain of modern life — specifically, the digital dating world, social media perfectionism, and the real-life horror of hidden agendas. It’s as confronting as it is captivating.

Written by Jessica Fallico and Iley Jones, the play takes classic nursery rhymes and fables — often sanitized for contemporary children — and strips them back to their grim roots, before repurposing them as cautionary tales for today’s world. The result is an inventive and affecting piece of theatre that blends rhyming prose, movement, and shadow puppetry in ways that surprised and disarmed the audience.

The space itself — small, industrial, and intimate — works to the show’s advantage. There’s something unnerving about being so physically close to the action, especially in a production so focused on exposing the hidden terrors of seemingly safe, everyday situations. It amplifies the tension and vulnerability on stage and makes the audience complicit in the dark journey unfolding.

The ensemble — Grace Gemmell, Elisheva Biernoff-Giles, Charlie Veitch, and Dion Zapantis — is formidable. Each performer brings a distinct intensity to their roles, switching between characters and archetypes with remarkable fluidity and precision. Whether embodying twisted versions of familiar childhood figures or portraying modern personas lost in digital disconnection, their performances are sharp, committed, and often deeply unsettling. It’s rare to see such consistency in an ensemble cast — each actor not only held their own but elevated one another in moments of shared stage time.

 

Brothers Bare
Brothers Bare
Brothers Bare

 

Choreographer Cameron Boxall deserves special mention for crafting sequences that punctuate the narrative with physical storytelling that is both poignant and restrained. Movement here isn’t ornamental; it deepens the emotional and thematic weight of the show. One particular sequence, exploring the disintegration of identity through curated online personas, was particularly memorable — beautifully composed, visually haunting, and emotionally resonant.

The use of shadow puppetry is another triumph. Rather than gimmickry, the technique is deployed with precision and purpose, often representing the lurking fears and dark fantasies that exist beneath the surface of our everyday lives. These moments — brief, almost ephemeral — leave a lasting impact, suggesting more than they show and allowing the audience’s imagination to fill in the gaps with dread.

What elevates “Brothers Bare” beyond clever concept is its unwavering commitment to its message. Rather than lecturing us, it seduces the audience into familiarity before pulling the rug out. This is theatre that plays with expectations — and with its audience — to make us question the safety of the stories we grew up with and the realities we now inhabit.

Despite its modest setting, this is a production with big ambitions. Its themes are bold, intellectually sharp, and emotionally potent. The fusion of form and content — from the lyrical script to the expressive choreography and visual flair — is remarkably cohesive, making for a rich, multi-sensory theatrical experience.

As a highlight of this year’s Fringe Festival, “Brothers Bare” proves that some of the most powerful theatre can emerge from the smallest of spaces. With its relevant themes, inventive execution, and standout performances, it wouldn’t be surprising to see this production return — and on much larger stages. It’s a haunting, timely reminder that the scariest monsters are no longer in the woods, but often behind screens or waiting with open arms and hidden intentions.

Don’t blink — you’ll want to remember “Brothers Bare”.

To book tickets to Brothers Bare, please visit https://www.melbournefringe.com.au/whats-on/events/brothers-bare.

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A Step Into The Unknown

Other Gods

Other Gods Rating

★★★★★

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The Melbourne Fringe Festival is in full swing and the Motley Bauerhouse in Carlton plays host to the debut performance of Other Gods.

The lights brighten to a minimalistic stage, a small room as though the audience have been invited in to an intimate moment in time.

It’s here we meet Tom (Sorab Kaikobad), a priest who has sworn celibacy. Yet as the play unfolds we see Tom face his most soul searching moment when he meets the enchanting Marina ( Emily Kruse). Tom must face the most difficult choice in his life- his love for the Gods he worships, or his heart.

Other Gods is an intriguing story, one that is set in a mysterious place and time.

It explores the themes of conflict, love, religion and identity.

Whilst the actors all give heartfelt performances though, the story never really takes off. It feels as though we are invited into the story half way through and there are pieces of the puzzle missing. The religion that is mentioned is only half explained, the characters don’t have a strong story arc, and the concept just feels a little unfinished.

 

Other Gods
Other Gods
Other Gods

 

The minimal set design does let the audience focus on the dialogue, which is effective and the soft lighting gives a nice atmosphere. The intimacy of the room makes the performance seem like we are strangers invited into a world and a snapshot in time.

Where does this intriguing world fit into ours- the question is never really answered, we only get a glimpse. However we know that it’s mythical- as the worship of Gods is mentioned several times.

A quite entertaining play, Other Gods certainly raises some interesting questions, exploring themes of love, conflict and turmoil.

The cast give good performances, the dialogue is intellectual and are enjoyable. There are moments of humour with Asher Griffith-Jones as Ant giving a comedic performance, bringing lighthearted moments to the play.

Other Gods is a play that even with it’s unusual fantasy setting manages to explore themes of love and inner turmoil in a way that is pleasant to watch and it is interesting to be allowed into the fantasy world the characters inhabit.

To book tickets to Other Gods, please visit https://www.melbournefringe.com.au/whats-on/events/other-gods.

Photographer: Tom Noble Creative

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Meet the Director and Playwright Emily McKendry

Once Upon A Grimm Night

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Emily McKendry is a multi-talented director, actor and playwright originally from Taree in NSW. Her first two plays, “The Haunting” and “Murder by Invitation” were very well received. Emily co-founded Odyssey Theatre in 2023 alongside Rebecca Smith and Caitlin Addinell. Today we take the time to meet Emily, writer and director of “Once Upon A Grimm Night”, an immersive storytelling escape room experience currently being performed in Sydney.

About Emily McKendry

What’s your favourite fairy tale from childhood? Why?

It’d have to be Cinderella. I used to love the Disney film with the little mice and their corn, then was a bit shocked when I read the Brothers Grimm version: naaaasty. The live action remake is right up there with my favourite comfort films.

Which character from Once Upon a Grimm Night is most similar in personality to the actor/actress who plays them, and how?

I’d have to say Jared as The Narrator and myself as The Witch. Originally, I had thought that I would play the role of The Narrator but I always like to hold open auditions because you never know who will walk through the doors. We’d asked Jared to prepare for The Grimm but when he came in he’d prepared for The Narrator instead. His take on this wonderfully cabaret manic style Narrator inspired me to totally rewrite the character for him. As for The Witch – she’s socially anxious and prefers cats and crosswords to people – I did not set out to write myself but here we are.

What makes your show different from other interactive experiences?

I think the various types of interactivity blended within the one show whilst still maintaining a strong narrative structure. Most of the show is in fact scripted narrative, then on top we’ve got audience improvisation, escape room puzzles, and interactive potion making.

 

Once Upon A Grimm Night
Once Upon A Grimm Night

Why did you decide to perform your theatre experience at Old Government House?

You just can’t beat the immersive nature of an actual heritage location. We could try and replicate it somewhere else but it would cost a pretty penny and still never achieve the same ambience. One of my favourite parts of the show is when the audience enter The Witch’s lair – the gasps and audible appreciation of the setting give me little bursts of joy every time.

Do you have any funny or interesting stories of how people reacted during the last season of your show?

How long do you have? Audience interaction means that no two shows are the same. Unfortunately, a lot of them reveal spoilers for the show but The Witch scene always gets some hilarious audience responses.

There is a section where The Narrator asks the audience to consider their futures. One show Jared walked up to a lady and joked that he saw a lot of cats in hers, then with absolute glee she ripped her jacket open and revealed a T-shirt that was printed with the faces of all her 10+ cats. We couldn’t have written that better if we’d tried.

I know you’ve written 2 plays in the past. What inspired you to write this storyline in particular?

I used to write and be a Theatre Production Manager for Dark Stories Theatre, and a few years ago they got approached to create a production in a winery for a winter festival. It didn’t end up happening because there just wasn’t enough time to create it, but I got inspired by the idea of winter and harvest. Traditionally what would you do at that time of year? You’d gather around a fire and tell stories. BOOM; Grimm was born.

If there was any magical object you could bring into this Earth realm from Ever After
what would it be?

I’ve got to go with a classic – a magic wand. I grew up on Harry Potter and desperately wanting to be a witch and not a muggle. I’ve got my bibbity bobbity boo and levi-o-sa down pat.

Is there a sequel in the pipeline so we can see the adventures The Witch and Grimm Volkov get up to next?

You know, so many people have asked me that! I did leave the play open ended on purpose purely because I love the stories that linger with you and make you consider different possibilities. When writing the ending I’ll confess I created a rough outline of their future adventures but as for a sequel, who knows? Never say never.

Where can patrons book tickets?

To book tickets to Once Upon A Grimm Night, please visit https://www.odysseytheatre.com.au/once-upon-a-grimm-night-parramatta.

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Black Swan State Theatre Company Announces Bold 2026 Season

2026 Season Black Swan Theatre

“2026 is a vibrant mix of powerhouse performances, uncompromising original commissions, lauded emerging voices and inspiring collaborations.” Kate Champion, Artistic Director.

Black Swan State Theatre Company is thrilled to announce its 2026 Season — a dynamic year of daring stories, fresh voices and visionary collaborations. Showcasing bold new Australian works alongside reimagined classics and international gems, the program reflects Black Swan’s commitment to delivering theatre that celebrates our diversity and highlights the unique voices within it.

Black Swan begins 2026 with the captivating talents of multi-award-winning Meow Meow and her unique brand of subversive and hypnotising storytelling in Meow Meow’s Red Shoes. From fauns to swans to dazzling showgirls, Meow Meow leads us through a riotous journey of music, movement, and meaning. In Hans Christian Andersen’s tale, a girl is cursed to dance forever—yet Meow Meow wonders: what if she could never start dancing at all? Directed by Kate Champion, co-produced with Belvoir St Theatre and Malthouse Theatre and presented in association with Perth Festival, Meow Meow’s Red Shoes is at His Majesty’s Theatre for a strictly limited season 26 February to 1 March.

“Sensuously articulate and creatively comic, Meow Meow has the unique ability to seduce your brain while she reinvigorates your soul, turning tears of laughter into tender recognitions,” Kate Champion, Artistic Director.

Back by popular demand, Australian legend Heather Mitchell returns in her award-winning performance as Ruth Bader Ginsburg in RBG: Of Many, One. Written by Olivier Award-winning playwright Suzie Miller, directed by Priscilla Jackman and produced by Sydney Theatre Company, this intimate theatrical portrait of one woman who changed history, returns to Heath Ledger Theatre, 19 March to 4 April.

“If our record-breaking waiting list for tickets to RBG in ‘24 was any indication, you will want to book early for this one. Witness Heather Mitchell in a career highlight as she becomes Ruth Bader Ginsberg before your eyes. An amazing real life icon, a trailblazer like none before her. This is definitely a ‘don’t miss’ production!” Kate Champion, Artistic Director.

Commissioned by Black Swan and premiering at Heath Ledger Theatre 9-31 May, is the powerful reimagining of Tim Winton’s The Shepherd’s Hut, directed by Tim McGarry. Fifteen-year-old Jaxie Clackton, angry and alone, flees across WA’s salt lands. Instead of freedom, he finds Fintan MacGillis, a disgraced priest exiled to a crumbling hut at the edge of the world. As the unlikely pair form a fragile bond, buried secrets rise, forcing both to reckon with their pasts and confront life-changing choices. Directed by Matt Edgerton and starring George Shevtsov, The Shepherd’s Hut is a raw and poetic exploration of masculinity, isolation and the violence of hope.

“Quintessentially West Australian, Tim Winton’s writing has no comparison in its ability to capture how our human nature is inextricably linked to the landscape we inhabit. The Shepherd’s Hut, cleverly adapted by Tim McGarry, takes us into the probing isolation of nature in search of personal redemption and release,” Kate Champion, Artistic Director.

2026 Season Black Swan Theatre

Who decides where care stops and control begins? This age-old question is explored in The Almighty Sometimes at Subiaco Arts Centre, 19 June to 5 July. Anna has been medicated for as long as she can remember. At 18, she wonders who she is without all that: could she fall in love, go to uni, even just feel like herself? Her mother, RenĂ©e, clings to the fragile calm they’ve fought to keep—but Anna’s choices are no longer hers to make. Written by Kendall Feaver and directed by Emily McLean, The Almighty Sometimes is a gripping portrait of a mother and daughter wrestling with love, risk and identity.

“The Almighty Sometimes is the deeply affecting early play by Australian author Kendall Fever. Such an impressive debut, this play captures the heart-wrenching dilemma of any parent who has had to learn to let their offspring finally steer their own course alongside the experience of a young adult who needs to rebel in order to test their own boundaries – even at the expense of heartbreak and damage. Did I mention it’s also funny?” Kate Champion, Artistic Director.

From the pen of well-known West Australian writer and artist Will O’Mahony comes the world premiere of Day (After Day) In The Life Of The Useless. Pete’s wedding is off. Dumped and branded “a robot,” he turns to AI for guidance. Its advice? “Live well”. Easier said than done. What follows is a freefall of outrageous encounters, comic disasters and spectacularly bad luck. When life boots you off the bus of life, can you ever climb back on—and is AI already driving? Directed by Adam Mitchell, Day (After Day) In the Life Of The Useless is at Heath Ledger Theatre 29 August to 20 September.

“An artist long associated to Black Swan and fondly familiar to its audiences, Will O’Mahony’s brand new play Day (After Day) In The Life of Useless is a deftly woven, giddy portrayal of a character who, with best intentions to rise above, descends ever lower into own goals and unfortunate circumstances. New writing, locally generated, bold, exciting and original,” Kate Champion, Artistic Director.

Associate Artistic Director Naomi Pigram-Mitchell leads a stellar cast of Broome’s finest musicians, vocalists, dancers and performers in a concert that pays homage to the legendary artists who came before and amplifies the voices shaping the future. Following a sold-out 2025 Perth season, Raised in Big Spirit Country is heading home to Broome to the Goolarri Amphitheatre 3-5 September.

“Raised in Big Spirit Country is a co-production which we are extremely proud of. It harks back to Black Swan’s foundation as one of the first major theatre companies to champion original Aboriginal plays and musicals. Naomi Pigram Mitchell has nurtured this production into life where its Perth debut was a sold-out hit. It is now returning to its roots in Broome where it will continue to develop and evolve its magical mix of song and story-telling,” Kate Champion, Artistic Director.

The second half of 2026 brings together two of WA’s leading theatre companies, Black Swan and Yirra Yaakin, for a bold new co-production that is as confronting as it is hilarious, and personal as it is political. Jacky is a biting new play about family, work, culture and the compromises we make to survive. With wit, grit and a wicked sense of humour, Declan Furber Gillick shines a light on the cost of navigating identity in contemporary Australia through Jacky, a smart and enterprising young Aboriginal man making a life for himself in the city. Directed by Kate Champion and Maitland Schnaars, Jacky is at Subiaco Arts Centre 23 October to 8 November.

“Another early play from an outstanding young Australian playwright – Declan Furber Gillick. Jacky received outstandingly positive reactions from critics and audiences alike in Melbourne and Sydney. I’m thrilled that we’re able to present an original production of this provocative play in collaboration with our Perth-based artistic neighbours Yirra Yaakin,” Kate Champion, Artistic Director.

Concluding the 2026 season is the ever-popular The Pool, ready to make a splash in regional WA, including Port Hedland, Karratha, Newman and Wagin before a special return season at a new aquatic centre in Perth. Written by Steve Rodgers and directed by Kate Champion, audiences are invited poolside to share, via personal headsets, a glimpse into the lives of people who call their local pool their second home.

“After its extremely successful Perth Festival ’24 debut, our production of The Pool will tour regional WA in ’26. Celebrating each local community who gravitate towards these venerated public spaces, we look forward to sharing the delight this production brings to pool lovers of every age and aquatic ability,” Kate Champion, Artistic Director.

The 2026 Black Swan season is on sale to Friends of Black Swan on 7 October and to the General Public on 14 October. Tickets: blackswantheatre.com.au

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