Scenes with Girls: Complex, Contemporary Tragicomedy

Scenes with Girls

Scenes with Girls Rating

★★★★★

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Salad Days Collective return rowdily with Scenes with Girls by Miriam Battye, a story exploring the contradictions of friendship between three younger women, living lives alone, together. Set primarily in the intimate setting of a share-house lounge room and adjoining bathroom, Scenes is a chaotic, compelling and a non-linear romp which traverses the entire emotional spectrum, successfully balancing both light and dark themes throughout. The play is a thoughtful choice, which seems well aligned with the Salad Days Collective, a fast and fiercely evolving creative company, guided by the principle that theatre can’t be polite to be powerful.

A noted playwright and screenwriter, Miriam Battye writes unapologetically and with freedom; In interviews, she acknowledges her tendency to actively complicate her plays, and Scenes with Girls is a likely example of that, perhaps deliberately evasive in parts (what is the actual deal with Fran’s relationship?!) leaving the audience a lot to contemplate and resolve, and the performers plenty of wonderful space to play in. While certain plot points don’t all wrap up clearly or fairly, this adds honesty and texture to the tale; It is fair to say that sometimes friendship is the greatest love story of all, and the path to true love never did run smoothly. Themes and dialogue come from a reality of twenty-something females, yet Scenes with Girls transcends gender and age, boasting belly laughs to boot.

The central performers each bring their own magnetic madness to the stage. Lou and Tosh (Hannah Ward and Jasmine Prasser) are the main protagonists, and regular antagonists here; Fran is certainly part of the story, but she is typically on the outside looking in. It’s not entirely clear how much she deserves that based on the past, but she might do – there are of course different subjectivities and recollections within any friend drama! Hannah Ward and Jasmine Prasser shine on stage, projecting honest emotional connection in their individual ways, committed to their characters, and each other. Lou and Tosh each embody the contradictions of the play itself, which the performers have embodied beautifully – vulnerable yet vicious, funny and fallible, brave but not always. As Fran, Georgina Sawyer brings sympathetic restraint, winning the audience’s loyalty and concern. Fran cares and tries in a world where such qualities can be construed as failings – or is it that she forces things too much?

Director Ruby Sanders and the entire Creative team have done a fine job with Scenes with Girls, putting their guts out on stage with courage, style and humour. I enjoy the girl grunge of the set and mood-making sound and lighting design, operated with impressive precision. Scenes with Girls is altogether a play worth seeing and makes me reflect on the transformative and provocative power of both theatre and friendship. A complex, contemporary tragicomedy that is enthusiastically recommended.

To book tickets to Scenes with Girls , please visit https://queenslandtheatre.com.au/plays/scenes-with-girls.

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Turning Pain Into Power: The Radical Hope of How To Eat Rabbit

How To Eat Rabbit

How To Eat Rabbit Rating

★★★★★

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The world is coming to an end. Life feels inconceivably unfair and beyond your control. So how would you choose to cope?

Would you adopt ‘a survival of the fittest’ mentality? Would you suffer in silence? Or would you fall into despair in a constant state of lack?

In a bid to connect Australian audiences with human compassion and understanding, playwright Jamila Main excites us with her new production, ‘How To Eat Rabbit’, as part of La Mama’s Hope Punk Climate Festival.

In this independent dark comedy, we come upon a dystopian world suffering from climate change, where two friends, Alex and Cam, decide to bunk together in a burrow. There, they try to persist beneath a world that is literally caving in on them, inch by inch, and metre by metre.

Promising to keep one another safe and sane, they tackle their situation head-on – creating innovative ways to keep to a sound routine. The counting and recounting of tins of beans, stacking them in curious little piles all over the stage: like magical sandcastles. Handpainting pleasurable scenes on the walls of the cave. Daily training activities on repeat to keep boredom at bay. Frequent food and supply runs to keep their health intact.

 

As time rolls on, the atmosphere intensifies, for we are only human after all. A power struggle between the pair. Alex, wonderfully played by Nory Gretz, the more dominant of the pair, takes comfort in controlling the nest, while Cam, seamlessly portrayed by Jamila Main herself, is struggling to physically keep up, desperately hiding a secret about her health – internally collapsing to keep Alex comfortable.

In truth, this show is extremely spontaneous, confronting and radically shocking; depicting desperate, irrational behaviour at the hands of quiet desperation. Keeping us riveted from the get-go – even spotlighting the script onto the back wall of the stage – to not only guide the audience, but to digest and immerse us into the lived experience of these two characters.

But what is most impressive about this show? Is its revolutionary purpose beyond climate change. For Jamila Main is truly on a crusade – to make theatre a platform for greater understanding. For Main, theatre is more than a stage: it is the foundation of community. Where one can share personal struggles via inventive storytelling.

That we can still persevere despite the challenges one faces in life. That we can turn pain into power: with a courageous war cry, every single day.

To book tickets to How To Eat Rabbit, please visit https://www.lamama.com.au/whats-on/la-mama-hope-punk-climate-festival/how-to-eat-rabbit.

Photographer: Darren Gill

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Mamma Mia!

Mamma Mia!

Mamma Mia! Rating

★★★★★

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What A Night . . . Mamma Mia never fails to entertain, and The Very Popular Theatre Company’s production was no exception. Set in the Greek islands, Donna is preparing for her daughter’s wedding with the help of her 2 best friends. Sophie, the bride to be, has secretly invited 3 men from her mother’s past in the hopes that she can meet her father. Chaos ensues as Sophie doesn’t know which of the men is her father, and each man believes they could be. This is a heartwarming tale of love, family and finding yourself.

Erin Cornell (Donna) played the fiercely independent mother of the bride with ease. Cornell’s raw and powerful vocals captivated the audience during the emotional arc of the second act ‘The Winner Takes It All’. Singing the first and last lines of the show, Emily Monsma (Sophie) radiates youthful energy and charm and it was impossible to keep our eyes off her for too long. Chloe Rose Taylor (Tanya) was a crowd favourite of the night. She was equal parts poised to perfection and feisty while giving off a real Gillian Anderson vibe. Jo-anne Jackson’s (Rosie) held the comedic timing for the trio, leaving the audience in stitches during ‘Take A Chance On Me’.

 

From their first scene together the ex-lovers, Sam, Harry and Bill are distinctively different personalities. They reminisce on their last visit with Donna and the island, and leave the audience wondering how long with will take each to realise they just might be Sophie’s Father. Matt Edwards (Sam) was a subdued yet strong leading male, and we genuinely felt his love for Donna the whole show. Timothy Aaron Cooper (Harry) played the character convincingly and sensibly. He did not feel a need to fall into the trap over overplaying as ‘camp’ to present his sexuality and this was refreshing to see in a portrayal of this character. Danny Folpp (Bill) isn’t just the adventure loving action man of the show. We get to see a shimmer of his insecurities that add so much depth to the character.

Lighting was, right from the first note of the overture, a noteworthy feature of the show. The set was stylish and very functional, the cast enthusiastically moved the set pieces, although scene changes could have been more efficient. The sound design was a rough mix in the first act with mic issues but was resolved for the second act. The pre-recorded backings or offstage booth overpowering the onstage performers in many numbers. Choreography was simple yet effective for the number of performers with the male part in ‘Lay All Your Love On Me’ being a comical highlight. Costumes were mainly casual beach wear to fit with the location. Donna and the Dynamo’s outfits were a gentle nod to the 70’s.

The ensemble was strong with quite a few local performers in the mix. Although unfortunately because the cast is so large we didn’t get the chance to see their individuality.

With 23 well known ABBA songs, and a mega mix to sing and dance along with, Mamma Mia is sure to be a well loved night for theatre goers of any age. Mamma Mia is running until September 20, 2026 at The Star Gold Coast, Broadbeach.

To book tickets to Mamma Mia!, please visit https://mammamiagoldcoast.com.au/.

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Savages: Drama Below The Decks

Savages

Savages Rating

★★★★★

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When a dramatically-drawn stage, set impressively as a stark deck of a cruise ship is cast in blue lighting, with unnerving music pounding from the speakers, I know I have arrived immediately in an undercurrent of something I can’t quite put my finger on. A backward feeling descending on my conscience; that once this cruise ship sets sail, there is nowhere I can escape from.

For this feeling of unbreathable submersion is Patricia Cornelius’ brilliant reimagined work, Savages, a play about four men immersed in tight mate-ship, climbing aboard a cruise and leaving their worries behind – heading off on ‘a holiday of a lifetime’, not yet knowing how their yearning for liberation will slowly spill out of control and descend into a night of chaos.

Thirteen years after this play originally took the stage, the decision to cast this show with women and non-binary people takes this piece to a whole other level, particularly where we currently sit with toxic masculinity and misogyny. How, in 2026, we still hear of men, particularly those ranking in high positions, still feeling entitled to disrespect women. How women still have to be guarded, even on cruise ships. Where there may lie a toxic breeding ground of expectation, ire, and unfathomable disrespect when it comes to our gender.

To examine the seemingly complex wiring of savage behaviour in 2026, Cornelius and the show’s director, Kitan Petkovski, thought to cast four incredibly agile women and non-binary actors, who symbolically leave their identities behind at the dock. Who immediately transform into four male characters with great humour, precise physicalities, and emotional complexities; exposing how underneath bravado and immoral behaviour, may lie simmering undercurrents of sadness and depression. Keen to liberate themselves from these emotional waves, these men continue to fight their way through: choosing pure self-satisfaction over what is morally right.

 

The cast all do a brilliant job of taking on their individual roles. Nicci Wilks is the humorous pick of choice, playing Runt with great comedic timing, delivering the performance of an Aussie bloke with a growl and groan, giving as much as he gets.

But AYA, delivers the level of acting not seen in years. Conveying the despicable character such as Rabbit is no easy feat, and AYA takes it to an expansive level – blending low-brow waywardness with complex pathos and vulnerability. For AYA is the epitome of what I would define as a gifted vessel, for any trued-and-true storyteller.

The set and lighting, both designed by Bianca Pardo and Harrie Hogan respectively, is novel and innovative. Minimal, clean, and with very few props, this set is paired beautifully with the tones of light weaving in and out through the show – symbolising a ‘sea of emotions’, setting the tone of each character’s mood— spotlighting the colour blue for sadness and depressive thoughts; red for anger and aggression; and even the colour pink, celebrating women.

The key to great writing, especially in the case of Patricia Cornelius, is in the simplicity of her language, how so few words can mean so much. How, in much of the play, it sounded sung, like poetry. A call to arms perhaps, in light of what women are still struggling with.

Thankfully, by its rousing end, we see beams of pink light shining through the cracks of toxic culture, a stark vision of hope – in highlighting the vulnerabilities all genders share. That sometimes they can rule our lives in the most harmful of ways. That only time will tell – when old ideas of women will disappear and re-emerge triumphantly. Where entitled misogyny will be a thing of the past.

To book tickets to Savages, please visit https://www.theatreworks.org.au/2026/savages.

Photographer: Pia Johnson

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