A Bond Beyond Blood

Sita and Urmila: Unheard Conversations

Sita and Urmila: Unheard Conversations Rating

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7

Sita and Urmila: Unheard Conversations is a production from The Great Indian Theatre Company playing at the Nexus Theatre. It is an hour and fifty minutes without an interval. It is the story of two sisters who share a loving bond.

When Prince Ram of Ayodhya wins Sita’s hand in marriage, he reveals he has a vow that he and his brothers must marry from the same family. A solution is made and his brother, Laxman, marries Urmila. When Prince Ram is exiled to the forest for fourteen years, Sita immediately agrees to come with while Urmila must stay behind. Laxman is visited by The Goddess of Sleep and asks to stay awake for fourteen years to protect Ram and Sita. When The Goddess of Sleep says that someone must take his place to sleep, Laxman tells her that Urmila will, who reluctantly agrees. 

The story is written and directed by Sreekanth Gopalakrishnan. I particularly loved the sisters’ bond. Sita is adopted and although they don’t share the same biological family, they say the words “beyond blood”, meaning their love for each other goes beyond their DNA. Karthika Nair gives a stellar and powerful performance as Urmila and she captured my attention in every emotional scene. Prakriti Rayamajhi shows Sita’s character growth beautifully and portrays her journey from a dutiful woman to one who is strong and independent.

Deepti Shukla gives a delightfully cheeky performance as The Goddess of Sleep and children will love Akshay Sheela Nair as Hanuman, a monkey, whose physicality was engaging and entertaining. Ashish Malik and Wilfred Doray play perfectly evil characters and comedy is speckled through the script, giving audiences a chuckle when needed.

The costumes, designed by Param Kaur and Sreekanth Gopalakrishnan, was the first thing that caught my eye. They are beautiful and elegant with intricate designs. Indian music plays throughout the show and throughout scenes but still gives the actors the stage to capture the scene. When Sita and Urmila are separated, the set is cleverly split into two without feeling disjointed.

Dance is also incorporated into the storytelling and Sindhu Nair, winner of the Western Australia’s Multicultural Artist of the Year, brought a unique cultural interpretation of dance to be shared with the audience. The lighting works well with the storytelling, including spotlights to build dramatic tension during intense conversations with the sisters as well as sinister red lighting to highlight the emotions of the scene.

This is a production which would be enjoyed by anyone who has a sister or familial bond who they would do anything for.

To book tickets to Sita and Urmila: Unheard Conversations, please visit https://thegreatindiantheatrecomp.com/.

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Marjorie Prime

Marjorie Prime

Marjorie Prime Rating

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2

Marjorie Prime speaks to our deeply human longing for connection and prompts us to reflect on how much of our past we would choose to preserve, and what memories we might leave.

It’s the fragile humanity at the centre of this play that gives power to the storytelling. In an imagined future, we can turn our lost loved ones into ‘Primes’. These realistic holographic recreations provide emotional support as we navigate our grief and move forward with our lives. It’s an intriguing concept that leaves us questioning how far we would go when gripped by uncertainty and grief.

The story introduces Marjorie, an elderly woman living with dementia. Her daughter Tess and son-in-law Jon give her a ‘Prime’ of her late husband Walter to provide comfort. This holographic Walter appears eternally youthful and endlessly patient, sitting perfectly upright, attentive and still as he listens to stories about Marjorie’s life. Each day he absorbs new anecdotes, ready to repeat them later, gradually constructing a version of the man he once was through the memories of others.

The effect is both touching and unsettling. Walter’s kindness is constant, and he pays utmost attention to Marjorie. As she interacts with him, her daughter Tess watches with unease. She struggles with complicated feelings, sometimes resentful of the gentleness her mother shows the Prime, the same warmth she herself longed for growing up. At the same time, Tess is determined to shield certain painful memories from the Prime, hoping to spare Marjorie distress. Her husband Jon, however, sees value in honesty, even if the memories are difficult.

 

 

Moments of humour slip gently into the narrative too. At one point Marjorie persuades Walter to embellish the story of their engagement by inserting a movie-theatre outing to Casablanca, improving the memory just a little. It’s a small moment, but one that neatly illustrates how fluid and fragile memory can be.

Between scenes, blackouts punctuate the action, echoing the gaps forming in Marjorie’s mind. As the story unfolds, time begins to stretch and shift. After Marjorie’s death, she herself returns as a Prime. Yet instead of offering comfort to a grieving Tess, she seems to deepen the pain. Years pass in quiet leaps, and while people age and die, the Primes remain with their distorted, incomplete memories of the past.

When the play debuted in 2014, its exploration of artificial intelligence and memory felt speculative. Watching it now in 2026, with AI firmly embedded in everyday life, the questions it raises create discomfort. Is recreating the dead a source of solace, or does it blur the boundaries of grief in ways we may not yet understand?

This production at Roxy Lane Theatre brings the story beautifully to life. Janet Dickinson is compelling as Marjorie, capturing both vulnerability and warmth, while Finn Happ’s youthful Walter embodies the eerie calm of the Prime. Liza Black, who also directs the production, gives Tess a moving emotional depth and is supported by Chris Harris as the steady and kind-hearted Jon.

Short-listed for the Pulitzer Prize for Drama in 2015, Marjorie Prime remains as thoughtful and moving as ever. It’s a tender reflection on memory, technology and the enduring complexity of love.

Congratulations to the cast and crew on a heartfelt and thought-provoking performance. Marjorie Prime is currently showing at the Roxy Theatre from Friday to Sunday at 7.30pm, with Sunday matinee performances at 2.30, until 22 March.

To book tickets to Marjorie Prime, please visit https://www.taztix.com.au/event/roxylanetheatre/.

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Casey Filips: Virtuoso

Casey Filips: Virtuoso

Casey Filips: Virtuoso Rating

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My favourite part of Fringe each year, is walking into a show blind. Purely based off reviews from friends, a cool poster, the fringe feed, anything – I love not at all knowing what to expect, and being totally surprised. Casey Filips: Virtuoso is the perfect example of this.

A one man play of sorts, we follow the eccentric Tobias Frazier-Finlay through the audition of a life-time. Now, I want you to picture every exuberant, quirky, dramatic character you know combined into one, and that’s the kind of guy we’ve got. Mr. G, Sharpay Evans, even a little Miranda Sings it’s all in there.

The black-box rehearsal room at the State Theatre centre sets the scene perfectly, with Tobias strutting in from the back of the room as if really entering an audition. As with any standard casting call, he opens with a bit about himself, and of course his headshots, giving us a quick taste of his skillset (of which there are many!).

 

 

We then jump into a scene read, where he of course displays his natural ability to take notes from the panel (or in this case audience!). Naturally, hysteria ensues. I was amazed by Filips’ ability to not only perfectly mimic audience members but seamlessly taking on their daring requests.

For his final display of talent, we are treated to a – rather interesting – self-devised piece inspired by the majestic life of a manatee that left audiences doubled over with laughter. A big shout out must of course go to the gentlemen called upon to form part of the demonstration, the true star of the show (much to Tobias’ dismay).

Audiences also enjoy brief glimpse into Tobias’ future and where his career lands, a perfect crescendo for a man whose clearly given his life to the arts, but I’ll keep the exact details a secret for audiences to enjoy.

If you ever remember being told by your drama teacher “you have to fully commit to the bit, doing it 50% makes you look more ridiculous” this performance is a fine example. Offering a barrel of laughs and complete and utter tom-foolery in the best way possible from begin to end, this is a fringe favourite certainly not to be missed. Perfectly titled, Filips’ in fact, a Virtuoso.

To book tickets to Casey Filips: Virtuoso, please visit https://fringeworld.com.au/whats-on/casey-filips-virtuoso-fw2026.

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Hard Cheese: Rat in the City: One Last Bite

Hard Cheese: Rat in the City: One Last Bite

Hard Cheese: Rat in the City: One Last Bite Rating

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2

Hard Cheese: Rat in the City: One Last Bite is a delirious descent into the cracked psyche of its rodent anti-hero, and a gleefully unhinged love letter to neo-noir theatre. The rat. The myth. The legend. Harland “Hard Cheese” Cheese is dragged back into the underworld of hard-rind police work for his most maddening case yet, led by an old friend-turned-enemy, experience a cat-and-rat chase that feels less like a mystery and more like a hallucinatory spiral.

Trauma from three years earlier gnaws at our hero as he searches for his missing true love, Alison Brie, the real-life actress. Guided by his most trusted investigative tools – a Magic 8 Ball rattling around in his pocket and a set of bones, Harland “Hard Cheese” fumbles through the city searching for clues. Call it fate, destiny or celebrity obsession; every rat has its trap, and this one snaps hard.

 

 

Presented at the Blue Room Theatre as part of Fringe World Perth, this Dream Simulator production is a design-led hour of fun. Cardboard sets lend a scrappy, comic texture to a world that is otherwise shadowy and dark, while exaggerated movement, stark lighting and clever shadow play evoke classic detective cinema with a surreal twist. Puppets, masks and props are used inventively, allowing scenes to flow with cartoon logic.

Absurd, confusing, dark and hilarious, Hard Cheese leaves you scratching your head and wanting more. The talented cast made up of Lachlan Ives, Tash Pearson, Ellien Warden, Natalia Myślińska and James Brooks, delivers committed, fearless performances. With this creativity and talent, it’s clear this crew have exciting futures ahead of them. Hard Cheese: Rat in the City is strange, lurid, and utterly compelling theatre. What great fun it was.

Hard Cheese: Rat in the City: One Last Bite is showing at The Blue Room Theatre until Jan 31st as part of Fringe World Perth.

To book tickets to Hard Cheese: Rat in the City: One Last Bite, please visit https://blueroom.org.au/events/hard-cheese-rat-in-the-city-one-last-bite/.

Photographer: Sean Breadsell

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