Not a Fairytale Love Story

Blue

Blue Rating

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4

“Blue” is a new work written and directed by Claire Yorston. Currently showing at Pip Theatre in Milton in the intimate Level 1 Studio, a black box theatre until October 4th.

The storyline was given as a romantic drama with a dark twist and came with content warnings of abuse – physical and verbal.
This opened on Friday night the 26th and the audience were privileged to an intimate setting to feel like privileged onlookers as the story unfolded.

Let’s start with the set. With double columns this could have been a very awkward space, but instead Claire designed a set where you could look and visualise the personal spaces of the characters. Designed to portray a working café, a bedroom, a lounge room and a beach, the furniture, props were enhanced by an ambitious soundscape that complimented this. And kudos to the talented light and sound tech operator Carter Firmager who managed that side very professionally, there were a lot of cues, and it all went very well. Lighting designed by Claire and sound and music by Hannah Page.

Reagan Warner, a well-known actor around Brisbane played the man. Reagan has a presence and holds the audience with the beginning monologue. His voice is rich, and the dulcet tones lulled the audience into a false sense of a fairytale romance.

Hayden Parsons played the boy – Elias who works at the coffee shop, and Laura Renee, the girl – Annette who is on the corporate ladder.

Both talented actors and well-cast for these roles.

 

 

Boy falls in love with girl, girl seems to take a while to warm up to him and then the whirlwind of romance sweeps them to marriage – the cracks appear straight away.

I don’t want to give the full plot away – I want you as the audience to experience the sudden twist like we all did on Friday night – when it happened there was a stomach drop – I could feel the hum of peoples brains trying to recalculate and compute as we moved away from the society norm of DV to what was unfolding before us.

Laura plays Annette with the coolness of someone focused on getting ahead, who warms to Elias’s charms and gentle way. Costuming is simple but suggestive of status.

Elias is that loveable scruffy kid who grew up with slightly alternative family and Hayden played him as gentle and kind.

Try to see new works, especially this one. Serious new drama must work harder to attract an audience, and this deserves to play to a full house. It is an honest portrayal of a relationship that shimmers on the outside but a toxic lava on the inside.

Not all love stories are fairy tales.

To book tickets to Blue, please visit https://piptheatre.org/2025-blue/.

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Lassú: Past, Future, and Burlesque Collide

Lassu Cosmic Cabaret

Lassu Cosmic Cabaret Rating

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1

Produced by seventh-generation circus performer Merrik Ahston and creatively directed by Mitchell Woodcock, Lassú is a fusion of tradition and innovation. Their combined experience is evident in a seamless blend of circus, dance, and burlesque, delivering a cabaret that feels both fresh and timeless.

Billed as a Cosmic Cabaret, the show transports audiences into the glittering confines of the saloon with space cowboys, alien drifters, and the legendary Rodeo Sisters. Beneath the big top, transformed with bars, banquettes, private tables, and rings of chairs encircling the stage, the atmosphere captivates the audience before the first act even begins.

That anticipation was instantly rewarded when a poised aerialist strode onto the stage in boots and a high bun. To the audience’s amazement, she clipped herself onto the corde lisse (smooth rope) by her hair and soared, spinning and twisting with both grace and daring. The crowd erupted with cheers and whistles, fueling her performance even further. She later returned for a more traditional aerial routine, showcasing extraordinary artistry. For me, she was the standout performer in a show already brimming with remarkable talent.

 

 

From there, the show surged from thrill to thrill. A knife thrower had the audience holding its collective breath, his blades thudding into the board beside his assistant with precision—made all the more nerve-wracking once he donned a blindfold and relied only on her shouted commands: “Left! Right! Up! Down! THROW!” Gasps and nervous laughter rippled with each loud thunk.

A slack rope walker defied balance and logic by juggling atop a ladder and later a unicycle; a hypnotic fire act illuminated the stage with fiery beauty; feats of strength impressed with sheer power; and an unexpected clown act (IYKYK) had the audience laughing in surprise. Bringing it all together was the glamour of accomplished burlesque dancers and the soaring vocals of a powerhouse singer, ensuring the energy never faltered.

Lassú is not just a show—it’s a feast for the senses, a wild ride through the cosmic saloon where tradition, daring, and decadence collide to deliver an unforgettable night of entertainment.

To book tickets to Lassu Cosmic Cabaret, please visit https://www.lassutheshow.com.au/.

Photographer: Brooke Elizabeth Photography

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Film Review: The Boy with Pink Trousers (2025 ST. ALi Italian Film Festival)

The Boy With Pink Trousers (Italian Film Festival)

The Boy With Pink Trousers (Italian Film Festival) Rating

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Film Review: The Boy with Pink Trousers (2025 ST. ALi Italian Film Festival)

The Boy with Pink Trousers is based on the actual story of Andrea Spezzacatena, a fifteen-year-old boy from Rome who was severely cyberbullied and is loosely built on his mother’s, Teresa Manes, autobiographical novel, ‘Andrea: Oltre Il Pantalone Rosa’. The film is an engaging sensitive retelling of Andrea’s story, beautifully acted by the three young leads and is a cautionary tale in this age of social media obsession.

The film begins with Andrea recalling his birth and contemplating what would have happened in his life, shifting then to an older Andrea watching DVDs of him and his family in happy times and wondering when his parents’, Teresa (Claudia Pandolfi) and Tommaso (Corrado Fortuna), relationship began to fail. Moving then to teenaged Andrea (Samuele Carrino) practicing piano as Teresa receives a call from Andrea’s school informing her that he has won a scholarship because of his excellent academic achievement. To celebrate, they go to the funfair with Daniele (Pietro Serpi), Andrea’s younger brother.

As the story progresses, Andrea auditions for a choir that will perform for the Pope where he becomes in awe of another student Christian (Andrea Arru) also auditioning for the choir. At the start of the eighth grade Christian, who is repeating a year, and Andrea become classmates. Andrea is befriended by fellow eight grader Sara (Sara Ciocca) after Andrea deliberately gets into trouble in class. Andrea becomes friends with Christian after Christian asks him to help him with his studies but Christian distances Andrea after Andrea is chosen to perform for the Pope, but Christian isn’t.

 

 

After Andrea’s parents split, he confides in Christian who shares the contents of their discussion with the rest of the class. As Andrea and Sara move into High School, they discover that Christian, who was going to a different school, has joined their school and is in the same classes as them. Christian plots against Andrea which leads to calamitous bullying.

The Boy with Pink Trousers is director Margherita Ferri second full-length feature film and she and writer/producer, Roberto Proia, treat the subject matter delicately highlighting Andrea’s journey in the film sympathetically. Martina Cocco’s cinematography is subtle and warm, adding depth and emotion to the film. The music by Francesco Cerasi sits well with the events in the plot. The main theme is “Canta ancora” performed by Arisa which won Best Original Song at the Nastro d’Argento.

The three young leads, Samuele Carrino, Sara Ciocca and Andrea Arru, deliver excellent performances, particularly Carrino who carries most of the screen time of the film with aplomb. They are superbly assisted by Claudia Pandolfi and Corrado Fortuna.

The Boy with Pink Trousers was the highest grossing Italian movie of 2024 for good reason, it is a compassionate portrayal of a sensitive topic featuring exceptional performances by the young cast that will bring a tear to your eye.

Reviewed by Rob McKinnon

Rating; 8 out of 10
Genre: Drama
YouTube trailer: The Boy with Pink Pants trailer I PÖFF28

To book tickets to The Boy With Pink Trousers (Italian Film Festival), please visit https://italianfilmfestival.com.au/films/iff25-the-boy-with-pink-trousers.

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Dance Nation: A Provocative and Adrenaline-Driven Dramedy

Dance Nation

Dance Nation Rating

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3

Brisbane’s West End is pulsating as a capacity crowd converge upon Metro Arts Centre for Dance Nation, the latest offering from THAT Production Company. How apt, in an area known for its vibrant, multicultural and artistic atmosphere, we are treated to such multifaceted and exhilarating production, which deftly fuses theatre and dance into drama and comedy. Dance Nation follows a teenage dance troupe who aim for bright lights and competitive glory, while negotiating the complexities of young friendship, ambition and self-negation – equally embodying hilarity, hope and even some horror in the process.

The plot centres around a group of mostly female 13 years-old dancers, preparing for a big contest – plied with pressure on their path to success and recognition. However, the competition does not start under the bright lights of centre stage; The dancers must first endure their team’s own internal casting and rehearsal process and preparations – balancing personal ambition against loyalty and obligation to others as they vie for a principal part, bearing pangs of guilt and envy respectively from those chosen – and those not, as friendships hang in the balance.

Notable tension arises dancers Amina and Zuzu, who are both friends and competitors within their team, pitted against each other by Dance Teacher, and arguable tormenter, Pat. Dance Teacher Pat’s presence is un-nurturing, and we feel concern for these young girls (and Luke) for the tough, borderline-abusive discipline he imparts on them – and for his unsupervised access to this young, mostly female team – wondering what else he might be capable of or encourage.

 

 

Two of the other girls, Connie and Ashley, experience a more overt experience as targets from misplaced, inappropriate male gaze – from an adult stranger they encounter while awaiting their ride home from practice. While all of these young characters show general bravado, sass and the typical curiosity about sexuality that begins around their age, we watch uneasily how these 13-year-old girls are perceived, rather than protected. We observe Zuzu as her attention is not toward the safer, age-appropriate object of affection – Morgan Francis’s sweet, sincere Luke – toward a far older man who exerts coercive control and manipulation against a group of pre-teens – namely, Dance Teacher Pat, played with conviction by Cameron Hurry.

While touching on darker themes, Dance Nation succeeds by avoiding any gratuity or monotony – and each of the ensemble and supporting dancers bring a dynamic layer to the story. Along with the more dramatic themes, notably exemplified by Jeandra St James, bringing soulful grit and trepidation as Amina, Carla Haynes with calm charisma and dignity as Zuzu, and Thea Roveanu’s contradicting yet truthful blend of vulnerability and aggressive self-protection as Ashlee – there are many hilarious comedic moments, in addition to sincere, affirming and visually stunning ones – which create many of the show’s highlights. Johanna Lyon is a particular standout as Sophia, with superb timing and creative, uninhibited comedic delivery. Aurelie Roque makes her numerous smaller roles big, with instinctive dexterity and playfulness. Jessica Veurman gives a versatile, grounded performance as supportive, quietly assured Maeve, while Janaki Gerard shines with fluid and graceful dance and charming expression as Connie.

All of the performers bring polished energy to an engrossing, balanced script. It takes a lot of preparation to look so effortless, executing creative, complex choreography with seamless energy, in addition to fine delivery of dialogue. The hard work pays off beautifully in Dance Nation, undoubtedly enabled through the efforts of THAT Production Company’s talented Creative Team, led by Director Timothy Wynn. In summary, Dance Nation is a provocative and adrenaline-driven dramedy, where every distinct aspect blends into a textured and highly entertaining whole. The full gamut of human emotion is traversed with humour and unnerving honesty, further punctuated by captivating movement, lighting and sound. Highly recommended.

To book tickets to Dance Nation , please visit https://www.metroarts.com.au/event/dance-nation/.

Photographer: Kenn Santos

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