The Australian backdrop, twisted characters, and a gothic tone. The Hanging, written by Angela Betzien and directed by Aimée Cavanagh is one that all thriller-lovers would hate to miss.
Discover the secrets that surround teenage Iris, her boarding school English teacher, and the detective in charge of finding Iris’ two missing friends. Watch as the characters evolve before your eyes, listen to the dynamic changes in cadence, and experience the horror of the devolving mystery.
With unique stage design, simple lighting cues, and basic sound changes, the actors use little aside from their voices and realistic characterisation to immerse you in their world, leaving you no choice but to focus on the very parts of the play that you may not wish to see.
If forced, I would be hard pressed to choose a star of the show, with all actors giving their very best to the roles given to them, and working together to surprise the audience as they examine the human condition and all that is ugly to witness, yet captivating to see.
With an homage to the classic Australian text ‘Picnic at Hanging Rock’, The Hanging is a play that, while short, is one I can see becoming one for the ages, and the cast and crew at Maitland Repertory Theatre Company did a spectacular job bringing it to life.
Warnings: contains references to drug use, child abuse, suicide, pregnancy, termination, descriptions of gore, and coarse language.
Joining us today is Director Zippie Tiffenright, the creative force behind a wild, post-apocalyptic dive into Renaissance rebirth. Their upcoming show is an original work that blends chaos, beauty and raw imagination. Let’s pull back the curtain and meet the mind behind the madness.
About Cosa Vedranno: What Will They See?
What is this Production about?
‘A post-apocalyptic Renaissance, where young artists rediscover the human condition. The maladjusted reincarnations of Leonardo da Vinci, Michelangelo and those theoried to have been The Mona Lisa, are forced to teach themselves reality, language and creation, with beautiful and terrible results.’
What character are you playing, and what can you share with us about them?
Being a director always feels like playing a role in the show; sewing together the pieces and smoothing it out- guiding the movements and words. It’s a truly beautiful experience; you get to see everything. Making sure the best and worse colours of all the characters get showcased feels so important, in order to achieve that sense of nuance necessary for this play to capture the mind and soul.
What’s challenging about bringing this script to life?
Having written the script also, choosing which parts of the writing process to remember and forget feels vital, and is challenging- what sections of the world must carry through to the stage? What can fall away? How can we still ensure the artistry comes through? We’re thinking of it like an exercise in immersion- submerging ourselves in this world and only coming up for air when it’s absolutely necessary. The venue is an art gallery, the stage feels like an arena that the audience is a part of; the nine circles of hell, hanging on the walls, are the watchers. It’s been about creating an environment for the show, through Renaissance music and sound, cloth textures, air, breath, and voices.
Why did you want to be involved in this production?
The cast have said the strong draw-point for them auditioning for the production is the artfulness of it all. The profound impact such a concept can have just in a sentence, of rediscovery, reversion, and the spark of imagination.
What sort of person is going to love this show?
Any art, drama or language nerds. It started as my Extension 2 English Major Work in high-school, so it’s infused with that desperation and motivation I had to produce something that will last beyond my HSC, and that I could continue developing. I’ve grown up in such an artsy house, revisiting the Renaissance, Vasari’s ‘Lives of The Artists’, Dante’s ‘The Divine Comedy’, artworks, paint and books everywhere; I’m so fortunate that this love for creation has been cultivated within me my whole life. Really anyone who loves creation, freshness, rebirth will love this show. And big thanks to my Italian teacher at school for helping with translations haha.
What will the audience be thinking about in the car as they drive home after this show?
Probably ‘I have to think about this for a bit’. I hope it stays with people, and that they’re able to rediscover new parts each time they recall something from the show. For me, the world of this new Florence (“Floorants” haha) becomes more complex with each passing thought, unravelling and reweaving, like it’s alive itself. I hope audiences can take away the values of the show and overall experience of learning these characters.
What’s going to surprise people about this show?
How young the cast are- they’re so raw and real, it’s like looking through glass at a painting of humanity. The characters they play are barely developed people and they make so many mistakes. Watching these young people leading themselves astray is just such an interesting observative experience, that I hope adolescents can see parts of themselves reflected in, and that adults can be provided with an insight into the developing mind.
How is this production bringing something new to this story?
Being an original work, the play is still undefined, which is thrilling! Bringing a fresh insight to the Renaissance, however, has been fascinating; modernising and mixing, through incorporations of local artist’s work on the set, and face art of natural, beautiful things, along with singing in Italian and English, really brings together the vision of reimagining the Renaissance in a destructive and uncertain world.
Call someone out by name: who must come see this production?
The Medici family: be like them, support the arts haha.
Who has the best costume?
Probably Piper- theirs has turned out really specific to Lisa. She’s embroidered patterns on Lisa’s vest like the character would, and matches the way Lisa’s so uniquely herself, uninfluenced by anyone. We’ve had a really good time making sure each costume reflects the character’s style, and merges old and new world elements.
Who in the show is most like their character?
Alex probably haha, he’s such a sweetheart in real life and we all think it comes through in the show too. Allira is also such a breath of fresh air when she’s onstage; we joke about Isla being the whimsical forest girl that brings a fresh bit of spice to the play.
Who’s the least?
Mackenzie (we hope haha), and additonally, having a woman play the teenage boy version of Leonardo da Vinci is wonderful- the insight she brings to him, while embodying his energy and undeterrable drive is wonderful to see.
Is there anything else you’d like to add?
Thank you for reading! We’re so excited to share this show and can’t wait for opening night (Wed 30th April, 7:30pm).
Where can patrons purchase tickets to this production?
Show Sessions run from Wednesday 30 April 2025 to Saturday 3 May 2025 at The Show Room – Owens Collective, 101 Maitland Road, Newcastle.
Thank you so much for sharing your incredible journey with us. We can’t wait to see the magic you and your talented cast have woven together in ‘Cosa Vedranno: What Will They See?’ Break a leg, and may your show captivate every heart and mind in the audience!
The ‘Orpheus’ show was mesmerising, and I was utterly captivated by Shakti’s creative brilliance. ‘Orpheus’ is part of the Newcastle Fringe Festival performances, and last night’s show was held at the REX Royal Exchange Newcastle Salon Theatre. I had not previously attended the quaint theatre before, but I will endeavour to return there again soon. The staff were welcoming and friendly and did their best to make everyone feel relaxed and ready to enjoy the performance.
‘Orpheus’ is a solo dance show performed by Shakti, a seasoned professional dancer who has graced stages all over the world, including New York, Moscow, Paris, London, Kyiv, India, Israel and Germany. Her self-choreographed performance is rooted in inspiration from the Greek mythical character Orpheus and his tragic story.
The Greek mythology tale of Orpheus can be traced back to the 5th Century BCE and has captivated and inspired people worldwide for thousands of years. To quickly refresh your memory of the tragic tale, the mythological character Orpheus, gifted with seemingly superhuman musical abilities, is madly in love with his newlywed wife, Eurydice. Shortly after their wedding, Eurydice tragically succumbs to a snake bite, leaving Orpheus in a state of horrific grief. He travels to the underworld to beg Hades and Persephone to allow him to take his beloved wife back to the surface world.
Orpheus’ enchanting musical abilities successfully persuade Hades and Persephone to allow him to return home with his beloved wife on one condition: he must not look back at Eurydice until they reach the surface. Unfortunately, Orpheus doesn’t heed the warning and turns back to check that his beloved is trailing behind. As he does so, Eurydice instantly vanishes, and Orpheus is once again overcome with grief. Orpheus later meets a brutal death, being torn to pieces by frenzied maenads who were scorned by Orpheus’s rejection of their advances.
Through her dancing, Shakti explores the philosophy of life, death and the underworld. At the end of her performance she briefly discussed the concept of the underworld and how we won’t know what happens next until we get there. Will it be life’s greatest adventure? She philosophized how cultures all around the world, throughout time, have been intrigued by death and the various versions of beliefs regarding the age-old question- what is the afterlife?
Shakti’s choreography appeared to be a blend of contemporary dance styles beautifully enriched with Asian influence. Incredible emotion oozed into Shakti’s captivating performance. Her portrayal of torturous grief and loss was powerfully performed through every essence of her being. The use of flickering lights and darkness contributed splendidly in complementing and reinforcing the deeply emotive scenes. Likewise, her utilisation of exquisite materials as coverings and props was both visually impressive and emotive.
Shakti displayed true artistry at its finest in her performance. Her show was unique and extremely creative. I have utmost appreciation and admiration for this inspiringly talented woman. If you missed her at this year’s Fringe Festival, she promised to return next year to captivate audiences once again with her one-of-a-kind dance performance.
I had the pleasure of reviewing EJ Mann’s comedy show MAGPIE at Bernie’s Bar Newcastle. In her own words, “It’s a musical comedy show about being brave and living like one of Australia’s most fearless birds- the Magpie.”
EJ Mann is a Brisbane based comedian on tour for the Fringe Festival. She has been gaining great momentum in the comedy circuit and receiving wonderful acclaim and reviews from her shows. In a relatively short period, of only a few years, she has certainly made her mark in the comedic world as a RAW State Finalist, Funny Coast Laughable Finalist, and Brat Pack People’s Choice Winner.
EJ Mann’s references to Uber drivers, Elon Musk, and keyboard warriors on neighbourhood Facebook pages made the show incredibly relatable and hilarious. There is a meld of Facebook posts and comments from her neighbourhood page, which EJ brilliantly and most creatively creates into a humorous song. I recommend she join my local page, as there is great content there if she is after new material for her next show. Facebook community pages definitely seem to bring the most brazen characters out of the woodwork.
It was most endearing to hear EJ intertwining various quotes and stories from her beloved late grandmother into her performance and songs. She made various mentions regarding her family and personal relationships which created an intimate, personal atmosphere and allowed the audience to feel acquainted, at ease and more receptive to her material.
EJ talked about her self discovery and sexuality in a heartfelt entertaining presentation. What I loved most was how she seamlessly incorporated her original comedic songs, accompanied by her guitar, throughout the show. A very stylish guitar, too, I should mention. EJ sings with an authentic Australian accent and a reminiscent sweetness of Missy Higgins. I could draw comparisons to the comedian Garfunkel (Kate Micucci), whose work I also absolutely adore.
There was a steadfast theme of the brave and fearless Magpie bird which is cleverly intertwined throughout her material. I particularly loved the reference to a ‘Parliament of Magpies’ and their superior efficiency. There were also references to shallow peacocks and rainbow lorikeets which reinforced her ideas beautifully.
EJ Mann is undeniably bold and brave as the Magpie and reveals an authentic, raw, self-exposing performance with skilful comedic light. A solid and professional performance by an up and coming star in her field. It is hard to believe she has only been at this game for just a few years. EJ certainly portrayed the grace and confidence of a seasoned professional. I was truly impressed by her creative witty performance and wish her all the best with her remaining Fringe Festival performances.
