Flight Path Theatre - Whats The Show

Getting Lost to Find What Truly Matters – Lost and Finding

21/08/202517/08/2025 Linda Lokhee🏆💎🔥🦉🎭

Lost & Finding Rating

★★★★★

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Liminal Production’s “Lost and Finding” is one of those unique theatre experiences which peaked a sense of curiosity, right from the beginning. Unlike other plays, where patrons are seated in the theatre and watch a story, this is immersive storytelling which began from the moment we walked into the Flight Path Theatre in Marrickville. Producer Aaron Cornelius greeted us at the door with a raffle ticket – for what, we did not know, but it did create a sense of excitement! Billed as a fantasy-comedy interactive show, I was aware that audience participation was most likely going to happen. However, for people who aren’t comfortable with this, there are marked seats inside the theatre for those who don’t mind being a part of the show.

When we entered the theatre, the lighting was dim. Shadows created crevices of the unknown. There was an atmosphere that felt mysterious and ominous. (Lighting design by Caity Cowan) What was this place? Where were we? At first glance, it looked like a garage filled with vintage junk; a hoarder’s room stacked floor to ceiling with things like boxes, sheets, tee shirts, guitars, paintings, milk crates, monitors, sport equipment and suitcases. As the play progressed, it was clear that every placement of this seemingly haphazardly strewn “stuff” was designed and placed with infinite care from the imagination of production designers Hannah Taylor and Paris Bell. The visual effects of the multi-level set was impressive. As a room infused with lost memories, my eyes kept exploring the set throughout the play and I wondered, who were the people whose memories these belonged to? The set also reminded me of The Junk Lady from one of my favourite films, “Labyrinth”.

We follow a confused Cassie, portrayed by Emma Throssell, where she finds herself unexpectedly in this strange space, looking for something, of which she cannot remember. She has literally fallen into a world where she encounters many interesting characters who help and hinder a journey towards discovering what it is that she has lost. Emma’s portrayal of Cassie delivered an outstanding performance that captured the emotional depth and authenticity of the character and I felt myself cheering her on in her quest. In one scene, Cassie had to perform a stand-up routine for an audition. Emma wrote this routine for her character. I felt the awkwardness and nervousness of Cassie as she delivered it, at the same time finding it very funny.

The amazing puppets and puppeteering were a delight to watch! Puppet maker/ director George Wohlfiel created original characters, ones who I could not help but look into their eyes – up at Lizard Wizard, down at the cheeky lizard and particularly at the pigeons Carl and Steve, whose eyes popped out and bobbed as they spoke. Carl had a big personality – a ciggy craving pigeon that made me laugh. His job was akin to a Service NSW customer service worker who was overworked, underpaid and frazzled. There was one puppet called Poppet, with its big eyes and gentle personality who I wanted to take home. Another character, The Dread Pirate Susan, spoke eloquently in poetry, and her name reminded me of The Dread Pirate Roberts from another of my favourite films, “The Princess Bride”. I loved the respectful nod to the two films I’d associated certain characters from, while still maintaining originality.

The puppeteers were polished in their craft and worked together to create convincing movements of their characters for a realistic stage presence. Puppeteers Ashley Chandler, Natanyah Forbes, Jade Fuda, Michael Ho and Renae Valastro did an outstanding job, all the while weaving their own bodies onto the stage with nuance and expression.

Co-sound designers Bryan Ruiz and Ellie Wilson from “Lost and Finding” created a continuous audio environment that added a strong dimension to the production. The dramatic soundscape and subtle sound effects, along with the visuals, encompassed my senses. One scene, which involved a villain speaking, was done with great depth and menace.

Director Emma Van Veen also wrote the play “Lost and Finding”. Her script captured my curiosity from the start and allowed my imagination to stretch to places within the set and far away. There were several sub-plots in the storytelling which were intertwined and were cleverly penned. “Lost and Finding” reminds us of the complexity of our own minds and the limitlessness of our imaginations. This tale of self-discovery, of finding the unexpected was a beautifully woven theatre production which I highly recommend to everyone. Go see it!

I saw the world premiere performance of “Lost and Finding” at the Flight Path Theatre on Friday 15 August 2025.
Flight Path Theatre: 9b 142 Addison Road, Marrickville
Run: 14-23 August 2025
Time: 100 minutes, no interval
Tickets: www.flightpaththeatre.org/whats-on/lost-amp-findings

To book tickets to Lost & Finding, please visit https://www.flightpaththeatre.org/whats-on/lost-amp-findings.

Photographer: Phil Erbacher

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A Modern, Fun And Silly Take On A Familiar Story With A Lively And Joyful Cast!

06/06/202506/06/2025 Chantal Harrison Writer🥈🎭😂

Christ Almighty: A Comedy of Biblical Proportions Rating

★★★★★

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We had a little hiccup getting to this show, arriving at the wrong theatre. It took a little bit of asking around for the penny to drop. Luckily Flight Path theatre was not too far from the Seymour Centre (where this show has previously appeared).

We did a questionable car park and then raced over to find the door slightly ajar. We weren’t sure what to do until God himself warmly beckoned us in. We found a spot to discreetly watch the beginning until it was safe to make our way to our seats.

This was my first time at Flight Path theatre and I am a big fan of intimate theatres with effective use of staging and immersive engagement with the audience such as this. The set was bright and pretty with the nostalgic warmth of a childhood television show.

The performance opens with Jesus (played by the well-cast Giuseppe Rotondella) discovering that God (played by the hilarious Brenton Amies) is his real father and that it’s time for him to flee the nest and go on a quest. Mary and Joseph concede to his departure after an hilarious music number.

Christ Almighty: A Comedy of Biblical Proportions

Along the way, Jesus shares his “magical gifts” with devoted followers such as best mate Peter (Isaac Broadbent) and sceptics such as Doubting Thomas (Babette Shaw). His first big cultural immersion is a stoning in Sodom, where we meet activist Mary Magdelene (Emma Flynn), and my favourite song of the show “Homophobes Are Gay” sets the tone and lens for the approach to this otherwise well-known story.

Each actor commits to the many layers of their characterisation while also allowing the comedy to shine. They rolled with a few punches including loud planes overhead, the clear namesake of the theatre. There was also a painful-looking prop issue that was seamlessly woven into the narrative by Isaac Broadbent.

It was the familiar story of Christ headed to the Cross with a modern take, current references, and commentary. The audience was in fits of laughter for most of it and the cast fed off this beautifully.

The musical numbers were fun and spanned a number of genres. Another highlight being King Herod’s “Vogue” and Pontius’ rap. I’m not sure if the singers were tentative or there was a mic issue, as the last bits of a lot of phrases seemed to trail off. However, I thoroughly enjoyed “The Introspective Song” where Giuseppe and Emma were able to go all in. It was clear the two of them are established musical theatre talents.

It felt slightly too long a piece that lost a bit of momentum towards the end, this was likely the complication of staying true to the Biblical narrative’s timeline. I was grateful for the lift in energy brought by the final musical number/curtain call. Overall, I really enjoyed the cast and their commitment to character, as well as their ensemble work and I found the show to be good, silly, fun!

To book tickets to Christ Almighty: A Comedy of Biblical Proportions, please visit https://www.flightpaththeatre.org/whats-on/christ-almighty-a-comedy-of-biblical-proportions.

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Interwoven Lives: A Review of Various Characters

14/05/202509/05/2025 Donna Portland 🥉

Various Characters Rating

★★★★★

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‘Various Characters’ is an aptly titled play that explores the emotional terrain of six individuals, each living in their own world and caught in the tension between isolation and connection. Their lives – diverse, troubled, and at times tender – intersect by circumstance, creating a tapestry of modern identity, dislocation, and longing.

Set in early 21st-century Sydney, the play touches on themes of multiculturalism and cultural identity, exploring how difference both separates and defines us. Through these characters, we glimpse the struggle of living in a society where connection is craved but hard-won.

Each character wrestles with personal transformation. Nina (Georgia Da Silva) is plagued by uncertainty and fear; Raoul (Tony Goh) stumbles through his inability to express himself and fit into the community; Mile (Tate Wilkinson-Alexander) grapples with identity and the burdens of responsibility. Boris, played with wide-eyed charm by Maliyan Blair, lives in a romantic fantasy. Zita (Nashy MZ) attempts to exert influence on the world around her, while Greta, portrayed with particular depth by Kate Bookallil, seeks to rewrite her future and reclaim a sense of purpose.

Bookallil’s performance as Greta, a Croatian mother, is a standout – rich in authenticity, expression, and control. Her presence brings emotional gravity to the piece. Blair’s Boris is also noteworthy, his youthful optimism providing contrast to the more subdued characters.

Though engaging and evocative, the narrative at times lacked clarity. Some character motivations felt opaque, leaving the audience uncertain as to why certain events unfolded. Still, the emotional beats mostly land, offering poignant moments of insight.

Technically, the production was tight. Set changes were executed smoothly in near darkness, a testament to the cast’s discipline. The minimalist staging adapted cleverly to both indoor and outdoor settings, and the restrained use of music helped maintain focus on the dialogue and action.

Performed at Flight Path Theatre – appropriately named, given the frequent sounds filtering in from low-flying planes – the two-sided amphitheatre ensured an intimate viewing experience, with every seat offering proximity to the stage. The theatre holds 90-100 people and has a bar with snacks. The demographic of the crowd was mostly younger with a mix of ages and ethnicities.

Written and produced by Šime Knežević and directed by Victor Kalka, ‘Various Characters’ offers a glimpse into lives trying to make sense of themselves and each other. While not every thread resolves cleanly, the performance is heartfelt, timely, and thought-provoking.

This play has an approximate runtime of 80 minutes, with no interval. The season runs from May 7 to 17, 2025. To book tickets to Various Characters, please visit https://www.flightpaththeatre.org/whats-on/various-characters.

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Between Past and Present: A Slow-Burn to Nowhere

04/04/202509/02/2025 Faith Jessel⭐🦉🎭

Three Sisters Rating

★★★★★

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If procrastination were an art form, the Prozorov sisters would be its masters. Their existential crisis is a painful blend of paralysing indecision and brutal self-reproach—an expression of how exasperating people become when deprived of a meaningful purpose. How many of us hover in limbo, caught between desire and action, never quite taking the leap?

Olga, Masha, and Irina, three sisters trapped in a small town, yearn for the excitement and fulfilment they believe awaits them in Moscow. As they navigate their personal crises, unfulfilled desires, and complex relationships, their dreams remain elusive. Chekhov’s audiences either revel in his brilliance, grow frustrated by the lack of resolution, or sit bewildered- precisely his point.

Any rewrite of Three Sisters is a formidable feat, one that few would dare take on, as its success hinges entirely on execution. Modernising a classic is a delicate balance between reinvention and irrelevance—remove too much of its original context, and you risk transforming a masterpiece into a hollow echo of its former self.

Writer/Director Victor Kalka’s takes on both challenges with Three Sisters at the Flight Path Theatre. He offers an almost claustrophobic platform, where every moment of inaction feels magnified and impossible to escape. The setting is intentionally unclear, blending past and present elements with a mishmash of creative confusion. No choice is fully realised, leaving the audience adrift, unsure where to anchor an emotional or intellectual connection. Chekhov loyalists may find it frustrating, but not in a Chekhovian way.

Three Sisters is deeply rooted in themes of societal constraints, particularly on women, but without the cultural context of Chekhov’s time, their longing for Moscow feels more like reluctance than tragedy. The Russian references remain, yet it feels distinctly un-Russian, as the cast all speak with Aussie accents and engage in very Aussie behaviours. More like a warped, self-flagellating version of Don’s Party, where personal crises and relationship breakdowns unfold amidst a backdrop of awkwardness and denial.

So, while Kalka offers a fresh perspective and some compelling tension, the conundrum ultimately falls short in achieving continuity and a cohesive identity, blurring its sense of direction. A few striking examples of dissonance is the use of Boney M’s ‘Moscow’. The upbeat, disco rhythm playing before the show and during the bows clashes with the quiet desperation of the characters. Plot points are also muddied, such as Olga having the freedom to be financially independent and be a school principal, yet the doctor kills someone by prescribing the wrong medication and faces no legal consequences, highlighting the inconsistency in tone and conflict. As a result, the themes of longing and discontent fail to establish any hard stakes or resonate effectively, diluting the emotional core of the story.

Still, the cast manages to engage with the material with conviction, conveying the emotional exhaustion and deep dissatisfaction of the characters. While not every performance stands out equally, several actors capture the depth and nuance of their roles with skill.

Meg Bennetts, Nicola Denton, and Sarah Greenwood bring a steady, understated energy to the sisters, slowly building the quiet tensions and unspoken desires that define them. Greenwood’s scenes with an intense Alex Bryant-Smith are particularly compelling, producing the most emotional resonance, their chemistry grounding the performance.

Matthew Abotomey as the sisters’ hapless brother Andrei, makes the character likeable, despite some brutally honest lines, finding a way to be relatable. Joseph Tanti, as Irina’s suitor, brings warmth and subtle charm to what could otherwise be a passive role, creating a welcome contrast to the otherwise fraught atmosphere.

Set in a time far removed from 1901 Russia, where women can self-actualise beyond marriage or spinsterhood, we’re ultimately left wondering why the sisters persist in self-loathing and entrapment instead of embracing self-examination. The absence of clear obstacles creates a disconnect, ironically mirroring the sisters’ doubt and lack of coherence. In Chekhov’s original, they’re trapped by both societal expectations and their own emotional paralysis – a defining characteristic of their struggle that feels unfounded here, where social pressures are now largely absent.

The key to a modern adaptation is balancing fidelity to the original with a fresh lens that reveals its enduring relevance. Yet, this production’s purpose gets lost in translation. Perhaps that was Kalka’s intent, but if so, it doesn’t quite reach Moscow.

See https://www.flightpaththeatre.org/whats-on/three-sisters for further details

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Faith Jessel⭐🦉🎭

Spread the word on your favourite platform!

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