Adventures Under The Sea, On Earth and To The Moon (And Back)

Twenty Million Thousand Leagues Under The Sea

Twenty Million Thousand Leagues Under The Sea Rating

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To say this show is just a theatre performance would be simplistic. Twenty Million Thousand Leagues Under the Sea by Pummel Squad cannot be boxed into just one category. Presented onstage by creators and performers Harry McGee and Cooper Donald McDonald, together with sound designer and composer Yanto Shortis, the show is a lively explosion of creativity—a brilliant blend of comedy, live-action illustration, and music, all brought to life with quirky narration and the classic overhead projector (OHP)!

The three performers tell the story of Rasthomas Bulge, an ordinary fellow with an extraordinary name, represented in 2D illustration in various poses, depending on the storyline. He’s drawn in 2D but at times is represented by larger than life 3D narrators, who voice his thoughts. At other times, his thoughts are cleverly interspersed and gently made known, projected onto a screen. Combining shadow puppetry with stencils and rolling overlays, along with narration and acting, the creators move beyond the ordinary to present the story in the most original way possible.

Rasthomas is a car salesman with a bushy moustache. He is drawn with three curly springs of hair sprouting from his head, bright eyes and a snappy suit. As the audience is being seated, his creators are sketching him to life on the overhead projector bit by bit. It was fun watching Rasthomas become himself, and it felt like we were getting an art lesson as the lines morphed into a cartoon man.

He’s got a steady job, a steady social life, (albeit with a shady school friend, drawn to “look bad, and is worse on the inside”) and a steady, ordinary life with his family. At the heart of the story is Rasthomas, feeling unsatisfied with this steady life. He is clearly experiencing a mid-life crisis where he feels that there’s something missing. After meeting and selling a sportscar to a man who surprisingly looks a lot like him, Rasthomas goes in search of adventure.

 

Following Rasthomas to literally the ends of the Earth and sky, the audience is entertained with stories of him travelling from the depths of the ocean to the moon and back. In a nod to the novel Twenty Thousand Leagues Under the Sea written by Jules Verne, there’s danger, daring escapes, sea monsters and even a bit of Casablanca cleverly woven in that ties right back to his wife. He realises after he has stepped out of his own shadow, that his ordinary life is something to be treasured, and perhaps looking at things from a different perspective brings acceptance.

Along with the lo-fi music and an almost continuous sound design accompaniment to the show, musician Yanto came out from his music station at the side to take centre stage. Standing in front of the screen, he sang an original song with his banjo ukulele as the projection rolled along, with the drawn buildings floating past with song. The audience loved it!

A memorable moment for me was one where we were introduced to Rasthomas’ four sons, drawn in lines, their portraits smiling. Their names were announced and revealed, read aloud as a list, with the first three son’s names rhyming, culminating with the youngest son being named Rasthomas Junior, which made me laugh as it was so silly. It was these witty bits of comedy, seamlessly woven in and delivered at surprising moments throughout the show, that gave the show a comedic charm which I thought was reminiscent of Roald Dahl.

Twenty Million Thousand Leagues Under the Sea was a 50-minute performance that seemed at times to be an improv. However, the Pummel Squad team cleverly crafted their skills to only make it seem this way, involving tag teaming the precise placement and flipping of stencils on the OHP, and quick delivery of quips and cheeky lines. Part of the 2025 Sydney Fringe Festival and already an award-winning show, this is one quick-draw scribby art combo comedy show (I did say it was hard to categorise it!) which will capture your sense of humour and your heart. Don’t miss this truly unique performance—there’s nothing else like it!

Season: 10- 13 September (matinee and evening performance on Saturday 13 September)
Run time: 50 minutes
Venue: New Theatre, 542 King St Newtown
Tickets: www.sydneyfringe.com/events/twenty-million-thousand-leagues-under-the-sea

To book tickets to Twenty Million Thousand Leagues Under The Sea, please visit https://sydneyfringe.com/events/twenty-million-thousand-leagues-under-the-sea/.

Photographer: Tom Noble

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Wits and Whisky – Dorothy in Oz, An Immersive Cocktail Adventure

Dorothy In Oz: An Immersive Cocktail Adventure

Dorothy In Oz: An Immersive Cocktail Adventure Rating

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Writer and director Alex K. Wregg brings his lifelong love of the Oz books by L Frank Baum to life at the 2025 Sydney Fringe Festival. His latest imaginative experience Dorothy in Oz is introduced as an experience where guests attend a birthday celebration for Princess Ozma of Oz. I had no idea about what lay ahead in our adventure and the mystery of this added to the suspense.

We started our journey in Kansas, sitting on hay bales and drinking a preshow drink from the bar titled Baum’s Marvellous Medicines – Potions, Tinctures, Remedies. It is here we met Dorothy, played with girlish charm by Bethan Williams. She was the guide that lead us safely into the world of Oz after she suspects a tornado was on the way.

The theme of the different lands where we begin is clear when we step through the tornado tunnel. There are tables beautifully decorated in vibrant colours, representing the different lands. As with all things magical, there were fairy lights adding to the atmosphere. The guests were greeted by The Scarecrow, played by Adam Watt, and we were able to gravitate to whatever table colour we wished to sit at to begin our night. Throughout the performance, Adam maintained the thoughtful and sweet nature of the Scarecrow and deserves a shout out for when he answered some of my questions with quick witted Oz related answers multiple times.

Production designer and build, Paul Bujak created a space that appealed visually and made me want to explore the area (the different lands) immediately! I did go for a wander around when I first came in.

 

 

On one wall, there was a poster of Oz, titled “The Marvellous Land of Oz” and it pulled together the five different lands; Winkie Country, Gillikin Country, Munchkin Country, Quadling Country, all of which surrounded the famous Emerald City. Bordered on four sides by the Great Sandy Waste, Shifting Sands, Impassable Desert and Deadly Desert, this map’s artwork was truly beautiful, and I could have studied it for hours.

In dual character roles, Marni Collier played Tip with a light-heartedness zeal and Ozma, and Kirsty McGuire’s performance as Mombi and Glinda made me laugh a few times! The four cast members bounced off each other to keep the flow going throughout the night and were there to support the guests if we got into any confusion about how to solve the given puzzles. There were lots of puzzles to be solved as a team (your country), and this was one of the highlights of the experience! I didn’t find the puzzles too difficult – think Escape Room meets family friendly World of Oz, and you can understand the fun to be had when working together with other people. I was on a table of five, but this number can vary, depending on the number of guests on the night. The puzzles were cleverly thought out to space separately the places where we went to complete the challenges.

Dorothy in Oz, An Immersive Cocktail Adventure, wasn’t your typical sit-down theatre performance. Instead, it was an interactive experience where guests became part of the story. Without giving too much away, it turned out to be a wonderfully fun journey into the Land of Oz that will captivate everyone, from the young to the young at heart. Although it has ‘cocktail’ in the title, the experience also caters for non-drinkers and has family friendly sessions, which will suit younger guests who have curious minds and wonderful imaginations.

If you want a diversion in our busy and hectic world, use your wits then relax with a delectable whisky-based cocktail, transport yourself to Marrickville Town Hall this September! For Sydneysiders, my message borrowed from The Wizard of Oz is “If I ever go looking for my heart’s desire, I won’t look any further than my own backyard.” Explore your own backyard and book tickets to this experience, before the tornado hits town!

Season Run: September 3-28, 2025
Venue: Marrickville Town Hall
Run Time: Approximately 1 hour 20 minutes
Tickets: www.dorothyinoz.com

To book tickets to Dorothy In Oz: An Immersive Cocktail Adventure, please visit https://www.dorothyinoz.com/.

Photography: Phil Erbacher

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Courage and Love in The Face of Jizo

The Face of Jizo

The Face of Jizo Rating

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Japanese playwright Hisashi Inoue’s script must make for some tender reading. Translated by his long-time friend, Australian Roger Pulvers, The Face of Jizo is brought to life onstage inside the intimate space of the Reginald Theatre by co-director and actor Shingo Usami and Mayu Iwasaki. Omusubi Production’s The Face of Jizo delicately unravels the ache in a heart, drawing the audience in for an emotional journey for a sensitive topic.

Set in the aftermath some three years after the dropping of the atomic bomb, the story opens to a severe thunderstorm. Lightning flashes and Mitsue (Iwasaki) umbrella in hand, enters her house, (a neat shack, designed with Japanese authenticity by Tobhiyah Stone Feller) with elevated tatami mats and a small, tidy kitchen. She is terrified. Calling for her father, “Daddy, I’m scared!” her father appears and there, Takezo (Usami) calms her, and we see the first glimpse into a beautiful father and daughter relationship. He tells her, “You got your reasons for being scared and you shouldn’t be ashamed of it. Nobody blames the victim of the bomb for getting shook up over something that flashes, even if it’s just an innocent little firefly.” I loved the significance of Takezo’s reference to a firefly; it beautifully captures how even something as small and delicate as a firefly can traumatise the innocence of the victims, making their pain all the more poignant and justified.

Mitsue’s job as a librarian brings her in contact with Kinoshita, (unseen) a man who collects items related to the atom bomb. Mitsue is in possession of some items, notably the face of Jizo, the guardian of children and travellers, which is half destroyed in war. A blooming relationship appears to be growing, but as the audience hears, Mitsue’s belief in finding true happiness for herself is shadowed with self-sabotage. Iwasaki brought the barbed sharpness of survivor’s guilt pain to the stage in a raw and genuine performance that brought tears to my eyes, and I know I was not the only one in the theatre who felt this deeply.

 

 

In this performance, on the 80-year anniversary in August 2025, it felt one message was clear; an act of inhumanity affects everyone – the innocents, for years to come and this unnatural act should never occur again. Despite the tears though, The Face of Jizo is a story of hope, love and courage. Usami’s portrayal of Takezo was captivating; his blending of a wise, paternal presence with a playful, larger-than-life humour added depth, warmth and levity to some scenes.

Composer Me-Lee Hay created a backdrop to Hiroshima in the late 1940’s with some beautiful music to accompany some scenes, as did Zachary Saric’s sound design throughout the play. The lighting by Max Cox captured the horror of the atomic bomb’s flashes, conveying an unspeakable event.

The vision of co-directors David Lynch and Shingo Usami for this timely production was outstanding, with their insight enhancing the emotional impact for which it was intended.
The Face of Jizo, a Japanese / Australian production in the Seymour Centre is theatre that tenderly addresses generational trauma as well as imparting courage and resilience.

The performance I attended on opening night, August 22, was a sold-out show that concluded with a well-deserved standing ovation. I highly recommend watching The Face of Jizo, as it is sure to continue moving audiences throughout the entire run.

Seymour Centre: Corner of City Road and Cleveland St, Chippendale
Season: 21 August – 6 September 2025
Time: 80 minutes, no interval
Tickets: www.seymourcentre.com/event/the-face-of-jizo

To book tickets to The Face of Jizo, please visit https://www.seymourcentre.com/event/the-face-of-jizo/.

Photographer: Kathy Luu

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Getting Lost to Find What Truly Matters – Lost and Finding

Lost & Finding

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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