melbourne theatre

The Visitors(The Opera) – A Reimagining

The Visitors

The Visitors, taking place on the 26th of January, 1788, is a reimagining of the arrival of the First Fleet from the often unexplored Indigenous perspective. Adapted from a play of the same name by Jane Harrison, this Opera will take you on a powerful and sometimes confronting journey, allowing you to view a key event in Australian history from a perspective you might not have considered.

The narrative follows six Aboriginal Elders and one younger initiate. They are gathered on the shore, awaiting the arrival of the First Fleet into the harbour and are trying to reach a unanimous decision on how they will react. Do these visitors mean harm? Should they be allowed safe passage?

As a complete newcomer to the world of Opera, my expectations entering this show were of curiosity. I anticipated some pleasant music, powerful vocals, and a straightforward narrative.  The Visitors was so much more than this. It is not just a performance but an invitation to listen to often unheard voices, to gain new insights and to consider different perspectives; it was a great privilege to be a part of the audience.

The Visitors

Jane Harrison, the creative force behind the play upon which this show is based, also provided her talents as the librettist for The Visitors. Harrison’s mastery of language and the extraordinary musical expertise of composer Christopher Sainsbury created a wonderful synergy. It’s challenging to find words that truly capture the sheer beauty and power of the music.

I rarely purchase merchandise at shows; however, if there were a CD recording for this performance, I would have bought it in a heartbeat. For now, however, this auditory treasure seems confined to the live performance. Yet this is for the best. To experience The Visitors in person was not just to hear the music but to be fully immersed in a transformative journey.

The music and story were brought to life by an incredible cast of seven performers: Marcus Corowa, Zoy Frangos, Lillian Fromyhr, Jess Hitchcock, Eddie Muliaumaseali’I, Elias Wilson, and Shauntai Sherree Abdul-Rahman. Each member of this ensemble is not only an exceptional vocalist but also a compelling and powerful actor.

They each artfully created a unique and distinct character, each with their own stories to tell and their own unique desires. They didn’t just sing the words; they breathed life into the narratives, crafting real, authentic characters that the audience truly cared for.

I would be remiss not to mention the others involved in bringing The Visitors to life. The set, designed by Richard Roberts, was simple yet incredibly striking, providing a backdrop that allowed the story to unfold with clarity and impact. Combined with expert lighting cues by Rachel Burke, they together created a visual landscape that perfectly suited the narrative.

The Visitors
The Visitors

And I of course, have to mention The Victorian Opera Chamber Orchestra, who provided their musical expertise to bring the show together. I was lucky enough to have a view of the orchestra from the circle, and it was an absolute delight to see their talent and passion live alongside the performance. Every aspect of The Visitors was carefully crafted and expertly put together by a multitude of talented and passionate individuals.

The Visitors ran at the Playhouse for only one weekend. However, I hope this show and this exceptional cast will return for an entire season soon. CEO of Victorian Opera, Elizabeth Hill-Cooper, wrote that The Visitors is “an investment for the future of opera in this country and the telling of a tale from our young history with the insights from the oldest occupants of any land.”

These words hint that this brief stint of The Visitors was merely a prelude to something more enduring. Everyone deserves the opportunity to witness this performance.

This review also appears on It’s On The House, or checkout more reviews at Dark Stories Theatre Reviews.

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Aza: Stories of Grief in Diaspora

Aza: stories of grief in diaspora

Aza: stories of grief in diaspora, conceptualised by Charaf Tartoussi, is a poignant exploration of grief intricately interwoven with the nuanced experience of diaspora. Currently gracing the stage at the Melbourne Fringe Festival, this deeply moving performance unfolds within the setting of a wake and is truly a show that is worth your time and attention.

I can think of no better description than that provided by Melbourne Fringe: “In 50 minutes of vulnerable and sincere storytelling, they will move through the motions of their loss and attempt to answer the question: how does grief change when it is experienced in the immigrant diaspora, and how does it stay the same?” Watching Aza, I was reminded of the true essence of theatre: unadorned and authentic storytelling. 

Aza: stories of grief in diaspora

Performing in the Old Council Chambers is a challenging task – it is a small and intimate venue, every rustle from the audience is amplified, and in the distance, you can hear music and applause from other shows. But these performers were undaunted, embracing the intimacy of the space and using it to their advantage. As they spoke and shared their stories, I felt a genuine connection, and I found myself truly immersed in their words. 

Aza isn’t a play performed by its actors; instead, it is a story lived by its writers. These storytellers, armed with their own life narratives and uniquely profound voices, extend a personal invitation to the audience. It’s an invitation to walk with them through an intimate path, to share in a journey of love and loss. Hearing these words and sharing these narratives was indeed a privilege.

Old Council Chambers

Our four storytellers (Charaf Tartoussi, Farah Beaini, Thabani Tshuma, and Parminder Kaur) exhibit remarkable writing skills and shine as brilliant and compelling performers. They held nothing back, bared themselves completely, and invited us to share their grief and healing. By sharing their truth, they opened a door for the audience, granting us permission to grieve in our own way, free from judgment. 

Time is running out to see this exceptional piece of theatre, which is showing until the 22nd of October at the Melbourne Fringe Festival. Be prepared to shed a few tears; Aza; stories of grief in diaspora is an emotional journey that refuses to shy away from the true depths of grief and will undoubtedly leave a mark on those fortunate enough to be a part of the audience.

This review also appears on It’s On The House, or check more reviews at Dark Stories Theatre Reviews.

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Slutnik 2: Planet of the Incels

Flick’s “SLUTNIK 2: Planet of the Incels” was a dazzling space age adventure. 

It is the extravagant and anticipated continuation of the SLUTNIK™ franchise, following the success of its fabulous predecessor, SLUTNIK™ 1. The enthusiastic opening night audience for SLUTNIK™ 2, comprised of numerous fans of the first installment, is a testament to its popularity and widespread appeal.

For those unfamiliar with the backstory, SLUTNIK™ 1 chronicles the journey of a renowned group of lesbian space cannibals, accompanied by their trusty robot MOTHERBOARD, who departed Earth a century ago in search of liberation from patriarchal oppression.

The plot centres on Andromeda (Sara Reed) and MOTHERBOARD (Matilda Gibbs), rediscovering and reliving the secreted data of when the “sluts” had been compelled to make an emergency landing of their malfunctioning spacecraft on an unfamiliar planet. To their dismay, they discover the very thing they sought to escape from.

However, these men are not ordinary men, but rather, they are Incels who have been incarcerated within a dome by supposedly wicked lesbians. In addition to their desire for compliant women, these Incels also seek to escape, and believe in exploiting the visitors to achieve their sinister goals.

Matilda Gibbs is an exceptional MOTHERBOARD, and such a highlight of the show. Sara Reed portrays the conflicted Andromeda. She is truly enjoyable in her portrayal of an earnest explorer, being confronted with an entirely new experience – the Incel Men. The men, namely Ben Ashby, Ethan Morse, Michael Cooper, William Strom, and Benji Smith, are all recognizable as man-boy types and together, create a comical and perplexing chorus.

The Incels are easily ridiculed, yet they manage to captivate audiences with their provocative dance numbers, choreographed by Mia Tuco. Their interactions, and manipulations form the crux of the show, providing a platform to explore themes such as power, masculinity, and autonomy. 

The Incels’ dialogue is also used in matrix-style set dressing, which creates interesting contrast with the flamboyant flourishes of MOTHERBOARD’s retelling. Read: in real life, toxic masculinity forces men such as these characters to present themselves in bland uniformity, but Costume Designer Emily Busch has made them into glittering cowboys.

The language they use was apparently taken verbatim from Incel websites, documentaries, etc. Jon, played by Benji Smith, is a sinister, charismatic leader of the Incels, exuding an air of authority and menace. “Nice guy” Elliot, portrayed by Ben Ashby, attempts to win over Andromeda with his charm. The other three men, played by Michael Cooper, William Strom and Ethan Morse, while initially rude and boorish, ultimately prove to be more redeemable, revealing deeper layers of humanity, despite being so unsympathetic.

Juxtaposed to the incels, Motherboard and Andromeda’s exchanges are a fascinating exploration of what it means to retell truthful and challenging stories – especially the burden of lived experience and trauma. 

I applaud Flick and the whole production for their camp, sci-fi, musical spectacular. The story was a stunning and tactful interrogation of the dumpster-fire world we navigate today. Contemplating the end of the show, I walked away fired up by the pathos and soothed by the glamourous flourishes in sound and design.

I look forward to seeing SLUTNIK 3!”, but in the meantime, be sure to see this show before it closes on 16th September at Theatre Works.

This review also appears at It’s On the House.

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Grave Issues – An Examination of a Life’s Worth

In 24 Carrot Productions’ outstanding and profound “Grave Issues,” we are immersed in deep examination of a life’s worth. 

The audience enters the Bluestone Church Arts Space in Footscray to find themselves at a funeral for an unnamed woman. Upon sitting, we learn that a “procedure” will be performed, where an empirical determination of a person’s inner workings will be revealed. 

The play opened on “Senior” and “Junior” (Kate Ball and Karli Riesen, respectively) performing a sort of autopsy of personal qualities in front of an audience of funerary mourners. The findings were such that “Colleague,” “Friend,” and “Lover” were driven to challenge the method by adding their own experience. 

This cleverly-paced performance combines big emotion with perspective and tact. Sharmini Kumar’s darkly humorous writing was like a welcoming lighthouse in a sea of shallow themes. 

Karli Riesen was captivating in her portrayal of a high-achieving student up to her neck in the challenges of death, life and worthiness. The co-worker chemistry between Karli and Kate Ball was both hilarious and very tender, and I couldn’t look away. In Kate’s performance, I saw a wise and discerning professional with care equal to her ambition, and writing this now, I suspect this is also a close reflection of her work as an actor. 

Ocean Trimboli’s “Colleague” was intense and nuanced. She found amazing balance in her character’s pendulous emotions, the like of which are only too relevant to any discussion of death. 

In “Friend,” I saw Bianca Conry deliver an exquisitely flawed human with impeccable comic timing. Even the rhythm of her shoes on the stage’s steps served to build the play’s entrancing reality. 

As “Lover,” Sasha Leong was poignant and serene. I found myself simultaneously moved to tears by her performance while also calmed by her voice and dignified stillness. 

Front-of-house people were wearing a floral emblem which also adorned notebooks, water bottles, and other props. It had a wonderful unity. 

The main performance area contained a coffin, a stage and a small medical implement space at the rear, near a long, black, velvet curtain. The subtle lighting highlighted small moments of transition in the absurdist piece. 

The deliberate setup created an atmosphere of sterile efficiency while still being in the grip of a funeral. It was a clever way to contrast humans’ need for emotionless facts while still needing creations such as identity, both fleeting and timeless. 

Sharmini Kumar has written a witty, hilarious and profoundly moving examination of how we see and judge ourselves and how our loved ones challenge that. I urge everyone to see this play’s limited run.

Performances of Grave Issues are running until the 9th of September at the Bluestone Church Arts Space.

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