I Can See You, I Can Hear You – But You Are Not Real

Anthropology by Lauren Gunderson

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What happens when AI and humans combine, who/what is controlling the other.

Anthropology is an ancient science that investigates human diversity, evolution, and social life to understand the “big picture” of what it means to be human.

While theoretical foundations and ideas regarding “thinking machines” existed earlier, the term “Artificial Intelligence” was coined and adopted during a workshop at Dartmouth College in the summer of 1956.

Lauren Gunderson’s Anthropology first premiered September 2023 in Hampstead, England. The American Playwright has a string of popular plays doing the rounds including comedies The Book of Will and The Revolutionists. This however is not a comedy.

When we think of AI we are all familiar with the imagery we can create, and chatbots that interact with us (some even make sense). We watch CSI and Bones; we marvel at the technology they expose us to.

But what about creating a program to mimic loved ones so you can still talk to them and they talk back. Even when they are gone.

 

 

This is a play about a tech genius, a missing presumed dead sister, an ex-girlfriend and an emotionally absent mother. It is full of twists and turns, teetering on the brink of despair and then a landslide back to reality.

Firstly, let me say the set was tremendous and deserves the Matilda this year – designed by Freddy Komp who also brought the computer screens to life. The surreal set had a large corner desk with “working screens” and a functional living room space. The giant screen that seemed to dominate over the room played an important role in bringing the character Angie to life. Simple entrances via the black curtains at the side allowed the actors to enter and exit as if a doorway did exist.

Caroline Sparrow played the tech savvy older sister Merril, of missing teen Angie played by Rose Traynor-Boyland. A tense, distraught character whose grip on reality was slipping. Caroline was able to make this character both vulnerable and strong. The interaction between the onscreen Angie and the distraught Merril was heartbreaking to watch. Angie taunted Merril playing on her emotions while presenting as an AI Chatbot. The switching of characterizations by Rose was seamless. The ex-girlfriend, Raquel played by Vivien Whittle was a perfect choice as the warm voice of reason and human touch to ease Merril away from technology and back to a type of normality and this interplay also gave the audience a break from the tension. Sherri Smith, as the mother gave a believable version of an erratic reformed addict who was emotionally unstable.

The director Nicky Whichelow has brought together an excellent cast and certainly created an excellent piece of theatre. The production was slick, with a marvellous set that complemented the talented cast.

The crew of Zoe Power- sound, Geoff Squires- lights and Hazel Evans as SM, are also to be congratulated for the behind scenes work that helped give this show polish.

While this drama/mystery will appeal to a wide audience if you are a fan of any of the American Missing person/Crime TV shows you will certainly appreciate this work of live theatre.

Running at PIP Theatre, Milton until 2nd May, tickets https://piptheatre.org/2026-anthropology

To book tickets to Anthropology by Lauren Gunderson, please visit https://piptheatre.org/2026-anthropology/.

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Murder Incorporated: An Unfailingly Entertaining and Giddy Good Time

Murder Incorporated

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Murder Incorporated is a rib-tickling revival from Mayhem Theatre Australia, following the exploits of two newly minted assassins who lied about their criminal credentials to pocket a paycheck, and the hijinks ensuing when their deceit is detected and they are forced to accept an ultimatum.

This fast-paced farce is written and directed by Amanda Harrison, an award-winning comedic playwright, who employs clever wordplay and frequently breaks the fourth wall with meta commentary and intentional production ‘mistakes’, in a true comedy of errors. While light-hearted, this comedy is carefully crafted; I especially enjoy how the show’s pacing and audience’s perspectives are manipulated in creative ways for a heightened, dizzying, almost drunken effect – which is enhanced on my account due to mild oxygen deprivation from laughing so much.

The engaging ensemble cast each make their own colourful contribution; Sean Wilson struts his stuff as Sacha Von Stabbington, a role he reprises from the original production. Wilson has excellent comedic instincts, and posture for parody. Stephanie Collins is a delight as Chad Der Villian, showing fine characterisation and range, as a performer also known for playing ingénue roles in musical theatre. As an aside to the main narrative, Collins gives us a couple of bars of Schubert, which are sensational. Wilson and Collins show nice connection and synchronicity together, with sharply timed delivery and natural interplay.

 

 

Sam Hoepner brings commanding voice, bearing, and some brut as Markus Murder Jr, which lend well to his characters slightly inept villainy, nicely embodying both the sinister and slapstick. In the Swing Role, Dylan Clevens is hilarious, assuming multiple personas with fierce physicality and deft adaptability, while Ridley Paulsen is well utilised as the Stagehand, self-deprecating and wryly humorous, while taking on the very practical role of keeping the ‘splatter zone’ protected for cast and audience alike.

Mention is also due to Gaige Harrison, for his creditable work in stage and tech management.

In conclusion, Murder Incorporated is a successful spoof that comically creates an unpretentious and intoxicating theatre experience. The play’s sensibility is silliness, but it is done in the absolute best way; I do not remember the last time I laughed so much, a response reflected by the audience members around me. While the Pip Theatre Studio’s columns cause minor sightline obstructions, the compact venue was an otherwise effective space that added immediacy and helped to highlight the madcap and chaotic tenor of the tale, which is itself an unfailingly entertaining and giddy good time. Highly Recommended.

To book tickets to Murder Incorporated , please visit https://piptheatre.org/murder-incorporated/.

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Melt X Pip Launch: Heart Full of Omens

Melt X Pip

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Melt Festival is an annual open-access festival of Queer arts and culture staged across Magandjin/Brisbane, Australia. To celebrate the festival kicking off, Pip theatre in association with Melt hosted a launch event. This event showcased a wonderful exhibition of artworks and photography by Luke Brohman, as well as some live music and showcases of what the festival has to offer. The energy was enthusiastic from the eager participants as we met appearances from York Lit, Daniel Bruschweiler and JD Zamora just to name a few.

Upon entering the space we were greeted with a glass of bubbles and a walk through the studio presenting Heart Full of Omens by Luke Brohman. It is an eye catching exhibition presenting detailed paintings, drawing, photography and projected clips. Set amongst moody lighting, the paintings draw you in with their exquisite intricacies and hidden detail. The pieces seem to leap out with so much texture and the occasional inclusion of three-dimensional elements. The paintings offer many expressive faces worked in amongst the chaos, and seem to be pensive and serene. The artworks inspire joy and contemplation, with contrast between intense energies and calm.

The photographic works take a different approach, combining many tastefully natural figures with repeating shapes and symbols. The photography contains good composition and clarity; emulating a feeling of something ritualistic. With repeating and melding figures it feels at points like a cosmic kaleidoscope. Some further attention to detail could be important for future photography adventures, such as ironing crinkles out of backdrops or editing them in post-production. All in all, Heart Full of Omens is an enjoyable series and was a perfect introduction to this event.

 

 

We were then invited to explore the terrace which was very atmospheric with charcuterie on offer. The live Jazz music was an excellent backdrop to precede the announcements to come. We were then greeted with York Lit in a spectacular sequined silver get-up, a well regarded drag performer. Lit is performing as part of the show Kings of Kaos being presented by Melt, which is a cheeky drag variety act including six kings. Daniel Bruschweiler was introduced to give us a taste of Square Peg Bonus Hole, another fantastic act included in Melt.

Brushweiler introduces us to the concept of the show, what it is like to ‘never live up to expectations’. JD Zamora AKA JD Jephson is presenting traumageddon at Pip Theatre as a part of Melt. This show is said to be a real rollercoaster, a musical rendition of JD’s trauma that takes you through the highs and lows. There are countless more performances, acts and events as part of Melt Festival which is very exciting.

Overall, the launch was a fun event with many people at the ready to delve into the festival and all its offerings.

To book tickets to Melt X Pip, please visit https://www.melt.org.au/events/meltxpip-launch/.

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Prehistoric

Prehistoric

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“Prehistoric” is a coming of age story set in the 11th year of Australia’s Bjelke- Petersen administration. In Brisbane, a group of young adults explore their relationship with themselves, their culture, families, friends, and the politics that their society is being shaped by. Deb, Pete, Rachel and Nick form a band, in an attempt to respond to the way things are and challenge the accepted norm to invoke what could be; through punk rock, tenacity and determination to discover and live out their truths.

Underground Theatre Company presents this play by Marcel Dorney, and utilises the creative direction of Tate Newman and Tim Bell. The combined sound, lighting and stage design by Hannah Page, James Ledingham, Keely Baird and Bryn Swain was notable in the ways that each costume, red/blue/white spotlight and song played by the cast was executed with precision and intentionality. The colour of the lights, placed during monologues representing internal dialogue, offered the audience opportunities to connect with the characters in a well paced and engaging way.

The stage, shaped like an X, was an interesting idea. There were moments where blocking was an issue, however given the room and stage layout it makes sense that this would occur from time to time. Often the cast would take their places in the corners of the stage, alternating the positions to allow themselves to be in full view at different times. Another interesting and dynamic idea was when interactions between characters occurred center stage, the actors walking in a circle. This allows the audience more of a 360 degree view, and attempts to utilise the space fully.

 

Casting was done fairly well in this production, as each character demanded emotional depths and development that could be explored intentionally and thoroughly. From learning and performing with their musical instruments, to the monologues, to conflicts between characters; all of the cast did remarkably well. Their movements that accentuated their personalities, the projection, use of props and facial expressions fell seamlessly into place, engaging the audience fully.

Deb, expertly played by Ava Ryan, notably encapsulated the female struggle in professional and social contexts, allowing us to see how she processed difficult emotions and developed courage. Vince Lapore, who played Pete, also portrayed their role/s with professionalism, capturing the attention of the audience on multiple occasions intentionally and as though they have been doing this for years. Rachel Woodnett plays Rachel with ease and audacity; accurately depicting the emotionally troubled and passionate lead vocalist of the band, who consistently offered social commentary on the state of things. Dylan Spokes was an impressive Nick, playing the confident and enthusiastic character who felt deeply and acted boldly. The audience was frequently amused by how Nick entered a room, and took command of the space without overshadowing the rest of the cast.

All of the cast and crew have done an amazing job here and I highly recommend this production for ages fourteen onwards. It is to be noted that there are drug and sexual references on occasion that may not suit younger audiences.

To book tickets to Prehistoric, please visit https://piptheatre.org/2025-prehistoric/.

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