The Black Swan Theatre Company, presents The Shepherd’s Hut at the Heath Ledger Theatre. Adapted by Tim McGarry and directed by Matt Ejertton and taken from the novel by Tim Winton.
Just wow…what a performance. I couldn’t fault it. I was gripped from beginning to end!
The story follows young Jaxie Clackton through the agonising heat of the desert, only to be matched by the internal agony of his past. While battling to survive the Australian outback, Jaxie stumbles across a dwelling on the edge of a salt lake in the middle of nowhere where he finds Finton McGillis, a disgraced Irish priest. Finton is isolated and desperately seeking salvation from a damaged past, purposely deprived of human contact as punishiment for his sins. The dynamic between Finton and Jaxie is remarkable. The tension, raw emotion and sense of danger between the two, created an atmosphere in the theatre that kept everyone on the edge of their seat.
Finton was played by George Shevtsov, who brought an element of compassion and empathy to the very angry and hot blooded Jaxie, played ever so powerfully by Ryan Hodson. Often I felt like Shevtsov was trying to tame an injured, wild animal. The two very masculine characters pushed each other to the limit and pressed each other until cracks from their past would surface, leaving the audience in a gasp, but raising more questions then answers. Each heated debate between the two drew the audience in even more.
A large sand-covered stage stretched almost endlessly across the space, creating the feeling of the harsh Australian outback. The set design was probably the most simple I have ever seen on a stage. But it added to the raw, exposed landscape, which set the tone and sense of isolation, loneliness and helplessness. The clear sand contrasted beautifully against the textured drapes, which added important visuals when needed and the lighting against the sand and drapes were beautifully orchestrated with the mood.
The stripped-back design felt intentional rather than minimal, as our focus remained on the physical movements and rapid psychological changes of the characters. The brilliant story telling by The Hat (Ben Mortley) and The Hair (Ella Prince) amplified the emotional weight of the performance. With their dynamic tones and rhythm, we were able to imagine ourselves in different scenes instantly.
Personally, I loved how this story is fragile in ego, dangerously honest, and strangely tender. Both men, clearly needing help but refusing to show weakness, are a mark on society and confront young men in crisis and how they respond to fear and trust. Clearly ashamed of their past, they are literally screaming out for redemption but unable to forgive their own sins or the sins of others.
This truly is a powerful play and you must experience it the energy of it. It does however, contain coarse language, adult themes and references (or abstract simulations) to violence including family and domestic violence which can be triggering.
The Bubbles Festival Melbourne: A celebration of all things sparkling!
Natalie Pickett founded The Bubbles Review 10 years ago, when her first blog educated those who thought Moet was spoken like the end of the word, “ballet”, with a silent T, when really, it’s pronounced “Mo-wett.” Natalie should know. When working as a tour guide in Europe, on a guided trip to Moët et Chandon, she confirmed this exact fact.
Natalie’s ‘Bubbles Reviewers’ Club’ offers members monthly rewards, tasting technique masterclasses and more discoveries and invitations via www.thebubblesreview.com
I met some of her club members on Saturday, 2nd May, for Bubbles Festival Melbourne, at River’s Edge Events in the World Trades Centre – in a room with a stunning view of the Skyline Wheel and Polly Woodside. Holding our complimentary Riedel sparkling glasses (included in our tickets), we were all thirsty to begin when Natalie welcomed our group and spoke about some important terms to remember before sampling the bubbles on offer. She reminded everyone to hold their glass by the stem, as best to view the bubbles in the middle. We were advised to enjoy the experience of each sparkling with each of our five senses; even holding the glass to our ears – as though listening to a seashell on the beach – and to take in the scent with our noses, as far as they’ll go into the glass before tasting.
“Bubbles – Just like a hug in a glass” and “ABC = Always Bring Champagne” slogans called to us from TV screens around the room. After this, we would visit all the Exhibitor tables to indulge in the exquisite selection.
In between tastings, we were served trays of various Canapés – including Truffle and Mushroom Arancini. We also indulged in a succulent seafood station and a cheese station – perfect bubbly food companions.
Ian was the friendly host from Clover Hill. He poured my first tasting with CLOVER HILL TASMANIA EXCEPTIONELLE MULTI-VINTAGE, (59% Chardonnay, 35% Pinot Noir, 6% Pinot Meunier) – a light straw/green hue in the glass, vibrant citrus and stone fruits on the nose and crisp acidity on the palette.
My second tasting was the CLOVER HILL TASMANIA ROSÉ MULTI-VINTAGE (66% Chardonnay, 29% Pinot Noir, 5% Pinot Meunier) with fresh vibrant strawberry notes upfront on the nose. The palate was layered and creamy with red forest fruits, to a balanced, long finish. This one was sweeter than the first and a little too perfumed for my taste – still a lovely sparkling.
My third taste was the CLOVER HILL BLANC DE BLANCS MULTI-VINTAGE – Tasmania with 100% Chardonnay. This one reminded me a tad of the lovely Billiecart-Salmon Blanc de Blancs Grand Cru NV from France. It too, is characterized by aromas of citrus, white peach, and brioche with a creamy texture.
Tasmanian cool-climate sparkling wines are dominating at the moment, having taken out all the trophies at the 2025 Australian Sparkling Wine Show and Clover Hill is no exception, having been recognised by The Real Review as one of the best producers in the country. They are consistently ranked among Australia’s top producers with a 5-star Halliday rating.
Ian had a fourth offer in CLOVER HILL ROSÉ D’ASSEMBLAGE MULTI-VINTAGE (63% Chardonnay, 29% Pinot Noir, 8% Pinot Meunier), which I didn’t get to sample as I felt drawn to the French table while there was a lull in the crowd.
I met Jean Paul at the Philippe Fourrier table for a quick chat. Since 1847, this family Champagne house located in Baroville, is anchored in an exceptional terroir, the Côte des Bar, in the south of Champagne appellation area.
JP’s first French pour was the CHAMPAGNE PHILIPPE FOURRIER – ROSÉ DE SAIGNÉE (NV) (90% Pinot Noir, 10% Chardonnay) with a light red to deep rosé hue and orange reflections, its fine and persistent bubbles adding elegance in the glass. The nose opened with ripe raspberry and fresh red berry aromas.
JP’s second French pour was LOUIS PERDRIER FRENCH BRUT (NV) – Bordeaux – France (100% Chardonnay), an exceptional French Sparkling. Deliciously toasty notes melt into the scent of golden apples. Gentle and harmonious on the palate with some richness tempering the citrus finish. For me, this was the best sparkling of the day.
The third French pour was CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – Champagne, France (100% Pinot Meunier), with a beautiful pale-yellow hue and fine bubbles bright in the glass. The nose offered fresh red fruit aromas of subtle blackberry, hints of peach and plum. This one seemed a tad light to me after the Brut.
Lastly, I met Kathy at the Sutherland Estate stand – a small, second-generation family-owned enterprise located at a picturesque location in Dixon’s Creek, a mountainous area, past Yarra Glen in the Yarra Valley. Her first pour was SUTHERLAND ESTATE – 2021 BLANC DE BLANC SPARKLING – Yarra Valley (100% Chardonnay). Made from 100% Chardonnay in the Méthode Traditionelle, with secondary fermentation and ageing in the bottle.
Kathy’s second pour was her SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO (100% Tempranillo.). This renowned sparkling red is unique because we don’t often see a Tempranillo here in Australia. Sutherland have been making it for more than 12 years, and it’s all grown onsite. It has spent twelve months in seasoned barriques before undergoing secondary fermentation on lees in the bottle made Méthode Traditionelle, having a powerful burst of mid-palate fruit of berries, dark cherries, a bit of liquorice, with peppery spice and earthy undertones to finish. The palate is medium-bodied and well structured, with fine tannins and a persistent bead. A great match with cheese and charcuterie. It had the power of a sparkling Shiraz and I’m keen to visit their Cellar Door for more.
I tried the SUTHERLAND ESTATE – 2025 SPARKLING ROSÉ (with 100% hand-picked Pinot Noir). Whole bunches of Pinot are harvested from the vineyard and come into the winery and straight into the press immediately leading to the gorgeous pale salmon colour. The aromas are bright and enticing with rose petal, strawberry and perfume. On the palate were strawberries and cream. A delightful summer’s drink, but for the last glass of the day, I had to return for one last taste of the Sparkling Temperanillo.
Illustrator, Susan Kerian, who some recognised from her work with retailer, ‘Blue Illusion’, returned to showcase her original illustrations – perfect for ‘Emily In Paris’ fans and Francophiles.
All sparkling wines and Susan’s artwork could be purchased on the day so, I happily departed with my order for delivery of four of the LOUIS PERDRIER FRENCH BRUT (NV) from Bordeaux, two of the CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – from Champagne in France and six of the SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO from the Yarra Valley, because according to F. Scott Fitzgerald, “Too much of anything is bad, but too much Champagne is just right.” Well, that’s my excuse and I’m sticking to it!
All of the exhibitors offered great deals for purchasing on the day. I’ve never understood why tastings sometimes don’t allow that, but at Bubbles Festival, you could take the wine with you on the day, or get it delivered later, which was ideal. $5 from each ticket went to the Sacred Heart Mission, St Kilda. Natalie chooses a different charity to donate to in each of her state’s events.
It was a sunny 25degree day in Melbourne and I tasted some new and exciting Sparklings and Champagnes, met like-minded and vivacious souls, feeling the fresh bubble of life, therefore, I thoroughly recommend attending the Bubbles Festival.
Here are the other states’ Bubbles Festivals, coming soon:
Brisbane – 9 May 2026 – Get your tickets here! Sydney – 22 & 23 May 2026 – Get your tickets here! Adelaide – 6 June 2026 – Get your tickets here! Perth – 20 June 2026 (TBC) – Join waitlist here!
Sydney Dance Company returns with Engine, an exhilarating triple bill uniting three bold choreographic voices—Rafael Bonachela, Fran Diaz, and Melanie Lane—in a dynamic program of contemporary dance.
At its core is Artistic Director Rafael Bonachela’s The Journey Itself is Home, a striking new work inspired by the writings of 17th-century Japanese poet Matsuo Bashō. Set to a score by Grammy Award-winning composer Bryce Dessner, the piece delves into the interplay between movement, memory, and place, offering audiences a deeply immersive and reflective experience.
Making its Australian premiere, The Mass Ornament by Berlin-based Spanish choreographer Fran Diaz reinterprets Siegfried Kracauer’s influential 1927 essay through a hypnotic contemporary lens. Accompanied by the evocative music of Henryk Górecki, the work explores themes of collectivity and connection, where individuality remains present within a powerful shared rhythm, creating a visually compelling and emotionally resonant performance.
Rounding out the program is Melanie Lane’s critically acclaimed Love Lock, a visionary reimagining of folk dance for a modern world. Drawing on shared cultural traditions and the urgency of global change, Love Lock is both celebratory and cautionary—highlighting dance as a unifying and transformative force. The production features intricate costumes by renowned Australian designer Akira Isogawa and an immersive electronic score by UK artist Clark.
Hailed by critics and audiences alike, Love Lock has received widespread praise: ★ ★ ★ ★ ★ “…choreographed with electric intelligence by Melanie Lane.” – Sydney Morning Herald ★ ★ ★ ★ ★ “Love Lock is a work of bold genius and unfiltered creativity… It’s a cult I absolutely want to join.” – BachTrack ★ ★ ★ ★ ★ “…Love Lock feels exceedingly contemporary. In fact, it feels like a glimpse into the future. You just can’t look away.” – ArtsHub ★ ★ ★ ★ “Each element of Love Lock is expertly crafted… a spectacular explosion of colour, richness and immersion that leaves the audience craving more.” – State of the Art
Engine showcases contemporary dance at its most daring—bringing together distinct creative voices in a program that is both intellectually engaging and visually captivating.
Program The Journey Itself is Home – Rafael Bonachela The Mass Ornament – Fran Diaz Love Lock – Melanie Lane
‘Mil-aa-qa’ is a live studio cooking show, written and performed by Jude Soussan at The Blue Room Theatre. It was a pleasantly different experience from beginning to end. Jude, being the main character of two, explores food, chronic illness, culture and self-love, through an intimate and deeply personal lens, while being filmed by camera operator and AV assistant, Alleyne Aviles. The show within a show, reflects on how cooking and sharing meals can become one of the purest expressions of care, especially when living with dietary restrictions like coeliac disease. If cooking is your love language, you will also resonate with this show.
‘Mil-aa-qa’ transformed the intimate performance space into a Lebanese domestic kitchen. The mood felt warm and homely, while ‘Aunty’ (Jude) sings ‘Al Bostah’ while cutting onions as we entered. Bowls of spices, vegetables and traditional cookware were on display and the wider set extended into a carefully curated family living area. Generations of family history and inherited tradition were on display as framed personal photographs, floral prints, spice racks, lace doilies and dark wooden cabinets gave the room that cosy atmosphere you’d expect in grandma’s kitchen.
Through stories of growing up Lebanese while navigating illness and the social pressures usually unappreciated in Lebanese culture, Jude reveals the emotional complexity of food – both nourishing and harmful. During ‘ad-breaks’, Jude interacts with the audience, treating them as part of the show. A discussion on the impact of coeliac disease, the comorbidities of depression associated with the disease and what constitutes respectful behaviours reveal that there is much opportunity to educate on this topic. Jude successfully provided that education without lecturing, giving layers to the show, being both entertaining and thought-provoking.
‘Mil-aa-qa’ created an intimate theatrical world that felt authentic, emotionally layered and quietly cinematic. The show celebrates resilience and the longing to preserve traditions of hospitality and shared meals with people you love, but also highlighting that when you are not being considered, that can quickly turn into resentment. Jude achieves maintaining her passion for food on her own terms by being more creative with her cooking. So what begins as struggle, transforms into healing and cultural reconnection. When the show ends, do not run out the door like we almost did. The audience were delighted to be invited by producer, Anja Starkiss, to try a warm bowl of her delicious cooking in the foyer. I’d tell you what it is, but I think you’d better try it for yourself!
‘Mi-aa-qa’ is showing at The Blue Room Theatre until May 9th.
