We Are Not Wagging Our Finger At You… Yet

'Scenes from the Climate Era' by David Finnigan

‘Scenes from the Climate Era’ by David Finnigan Rating

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Last night I attended Underground Theatre Co’s production of “Scenes from the Climate Era”, written by climate activist and theatre maker David Finnigan.

I went in cold; I didn’t know anything about it. I recognized a few of the actors, I knew the venue and I expected it to be heavy and probably depressing.

It was heavy and intense. Most I agreed with, some scenarios just annoyed me, but the important and impressive thing is I was invested and reacting with my thoughts and emotions.

This play is about past climate crises and possible future crises. Giving scenarios in first person from actual events or possible events. Cyclones, fires, heat waves and human reactions. Climate change is complex, chaotic and not a quick fix.

The Geoffrey Rush Studio is under the old Schonell Theatre – closed since 2021 while UQ work out what they do with it. But luckily for UTC the studio is available to them and is an intimate space with tiered seating and ample room for a flat or raised stage.

The set was kept simple – white and black chairs lined up at the edge of the stage, a white and black table to be both table and raised podium, a backdrop that was back lit to create imagery from the actors and atmospheric conditions.

 

 

The lighting was simple but used well to set up different scenarios, as was the use of sound. With such a simple set and no costume changes the use of these could have been even more predominant without overpowering the actors or storyline.
You could tell the creatives were all passionate about this play and all gave an emotive performance.

The 8-member cast of Cullyn Beckton, Ava Kozlovskis, Lara-Kate Anderson, Abigail Thomas, Loretta Melit, Miller Braithwaite, Ruby Gleeson and Georgie Falting are all to be congratulated along with 12 creatives led by director Jai Bofinger rehearsed and brought this to production in only 7 weeks. There are 65 scenes to cover a range of human emotions and experiences.

This is a journey that invites you to listen to the danger of climate change from sharing and witnessing experiences with the actors on stage.

It runs for 90 minutes, and an interval would have given the audience a reprieve from the intensity and a chance to catch up with all the information. In saying that the actors were totally committed and an interval may have derailed the emotions and pace of the play.

Did I enjoy it you may ask. I often question my choices when thinking of the effects on the climate. My recent Shein purchases, takeaway plastic containers – this play set out to remind me that we are all part of the solution. But did I enjoy it.
YES – because I like being challenged and i was entertained. This play would not have been on my radar but as I had never seen or heard of it or the playwright, i was curious, and i was not disappointed. For further research and information look up the writer, David Finnigan, he is an interesting character himself.

It runs until the 25 April, tickets on Trybooking.com $20-$35

To book tickets to ‘Scenes from the Climate Era’ by David Finnigan, please visit https://www.trybooking.com/events/landing/1560499.

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Prehistoric

Prehistoric

Prehistoric Rating

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“Prehistoric” is a coming of age story set in the 11th year of Australia’s Bjelke- Petersen administration. In Brisbane, a group of young adults explore their relationship with themselves, their culture, families, friends, and the politics that their society is being shaped by. Deb, Pete, Rachel and Nick form a band, in an attempt to respond to the way things are and challenge the accepted norm to invoke what could be; through punk rock, tenacity and determination to discover and live out their truths.

Underground Theatre Company presents this play by Marcel Dorney, and utilises the creative direction of Tate Newman and Tim Bell. The combined sound, lighting and stage design by Hannah Page, James Ledingham, Keely Baird and Bryn Swain was notable in the ways that each costume, red/blue/white spotlight and song played by the cast was executed with precision and intentionality. The colour of the lights, placed during monologues representing internal dialogue, offered the audience opportunities to connect with the characters in a well paced and engaging way.

The stage, shaped like an X, was an interesting idea. There were moments where blocking was an issue, however given the room and stage layout it makes sense that this would occur from time to time. Often the cast would take their places in the corners of the stage, alternating the positions to allow themselves to be in full view at different times. Another interesting and dynamic idea was when interactions between characters occurred center stage, the actors walking in a circle. This allows the audience more of a 360 degree view, and attempts to utilise the space fully.

 

Casting was done fairly well in this production, as each character demanded emotional depths and development that could be explored intentionally and thoroughly. From learning and performing with their musical instruments, to the monologues, to conflicts between characters; all of the cast did remarkably well. Their movements that accentuated their personalities, the projection, use of props and facial expressions fell seamlessly into place, engaging the audience fully.

Deb, expertly played by Ava Ryan, notably encapsulated the female struggle in professional and social contexts, allowing us to see how she processed difficult emotions and developed courage. Vince Lapore, who played Pete, also portrayed their role/s with professionalism, capturing the attention of the audience on multiple occasions intentionally and as though they have been doing this for years. Rachel Woodnett plays Rachel with ease and audacity; accurately depicting the emotionally troubled and passionate lead vocalist of the band, who consistently offered social commentary on the state of things. Dylan Spokes was an impressive Nick, playing the confident and enthusiastic character who felt deeply and acted boldly. The audience was frequently amused by how Nick entered a room, and took command of the space without overshadowing the rest of the cast.

All of the cast and crew have done an amazing job here and I highly recommend this production for ages fourteen onwards. It is to be noted that there are drug and sexual references on occasion that may not suit younger audiences.

To book tickets to Prehistoric, please visit https://piptheatre.org/2025-prehistoric/.

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