She Threaded Dangerously

She Threaded Dangerously

She Threaded Dangerously Rating

★★★★★

Click if you liked this article

The small, intimate Old Fitz theatre seemed like the perfect place to premiere She Threaded Dangerously, a bold new play by Simon Thomson and Emma Wright. The story follows four friends in an all-girl’s High School as they navigate the complicated dynamics of friendship, loyalty, and supressed desire, blinding them to the dangers around them.

The ensemble story jumps between each of the four girls as they wrestle with adolescence, sexual desire, and power dynamics, often putting them in conflict with each other. At the centre is a substitute male P.E. teacher some of the girl’s find attractive and dare each other to flirt with. They invite two boys from their twin all-boys school to a private party to drink and flirt, sparking rivalries and division. While skipping class, one of the girl’s meets an adult jogger who calls her an old soul. He strikes up what she believes is just friendly banter that makes her feel seen. Claiming to be a police officer, his manipulative grooming from a position of trust and power is uncomfortably insidious. The male characters balanced each other a little too obviously, with the two younger characters, and two older characters, each a pair of contrasting expressions of masculinity and authority put into conflict with the girls.

 

 

The story felt rushed, often moving along at such an exhausting pace it was hard to follow the banter being thrown around between the girls. Sometimes their screaming and yelling was a bit too loud for the tiny Old Fitz theatre and my ears were bleeding. Much like a High School, I guess. While the deeper themes are dark and uncomfortable, the various story threads could have used more depth or be taken in a surprising direction. Once you knew where each story was going it was predictable.

Karrine Kanaan, Alyssa Peters, and Larissa Turton do a great job as the girls, along with Claudia Elbourne, who also directs. Each embodied their characters convincingly, as did the supporting cast of Hamish Alexander, Michael Yore, and Leon Walshe. I particularly liked the sound design by Alexander Lee-Rekers, who created an intense soundscape mixed with music that reinforced the drama and chaos. Laila McCarthy’s set also worked beautifully in the limited space, using only a few carefully selected props and set pieces to craft a variety of locations that leaned into the power of theatrical imagination.

She Threaded Dangerously is an uncomfortable yet important exploration of teenage girls navigating a complex world of desire, power, and friendship, currently playing at the Old Fitz Theatre as part of the Sydney Fringe Festival until the 27th of September.

To book tickets to She Threaded Dangerously, please visit https://www.oldfitztheatre.com.au/she-threaded-dangerously.

Photographer: Karla Elbourne

Spread the word on your favourite platform!

Twisted Tales

Twisted Tales

Twisted Tales Rating

★★★★★

Click if you liked this article

Does Jessie, the cowgirl from Toy Story 3, prefer a buzz or a woody? Could Elphaba and Galinda actually be lesbian lovers, and who says that Ursula is a villain, especially when she holds a legally binding contract! She’s just misunderstood. These questions and more are explored in Twisted Tales, the extremely NOT child-friendly cabaret show at the Sydney Fringe Festival, fresh from their success in Adelaide.

Guided by the hilarious and charming Magic Mirror, Twisted Tales uses well-known children’s characters as the basis for a cabaret of acrobatics, music, and burlesque. The premise on the tin is to explore the twisted truths and hidden realities of classic fairy tales, but that’s not really accurate. Modern Disney movies and children’s stories (most of them not actually fairy tales) merely serve as a thematic launching pad for the bright costumes and various acts in a fast-paced mixture of rebellious mischief and wicked mayhem. My favourite was the Cinderella story. I won’t spoil it, but the twist here was both hilarious and genius. The show’s tongue is firmly in cheek, the cast seemingly having as much fun performing as the audience is watching. There is plenty of course language, adult humour, and exposed flesh, so again, the show is 18+ and not suitable for children.

 

 

The space was cavernous but somehow still intimate, the whole audience sitting close to the action and feeling involved and connected. A leaking roof and a large storm outside merely proved a small distraction from the glitter, flesh, and laughter. Some of the acts felt repetitive, such as the multiple burlesque numbers merely changing performer and costume but effectively doing the same thing all over again, but they were still fun and cheeky (literally) so it didn’t really matter. Everyone was having a great time, constantly laughing, clapping, whistling, and hollering in support. And isn’t that the point?

Also, a shout-out to the stage crew. Off to the side I could spot a few people clad in black trying to go un-noticed, working all night hoisting the performers up and down on various acrobatic apparatus, pulling hard on ropes with choreographed precision. It didn’t look easy.

Twisted Tales is part of the Sydney Fringe Festival and playing at The Bunker, Fool’s Paradise, Moore Park Entertainment Quarter until the 21st of September.

To book tickets to Twisted Tales, please visit https://sydneyfringe.com/events/twisted-tales/.

Photographer: Georgia Moloney

Spread the word on your favourite platform!

The Balloon Dog Bites

The Balloon Dog Bites

The Balloon Dog Bites Rating

★★★★★

Click if you liked this article

The Sad Clown trope has been done to death, so it’s very refreshing to get a new type of clown; the type that loves their craft but has to perform for the obnoxious children of a wealthy family while coming down from a wild night and sporting a queer sex injury. Yep. The Balloon Dog Bites is a one-and-a-bit man comedy at the Old Fitz Theatre that manages all kinds of wrong in all the right ways.

Paulie Accio loves being a clown, leaning in to his goofy, fun-loving nature it’s his calling in life. Having studied the craft in France, he now struggles to make a living and often has to resort to accepting children’s birthday parties. It’s a humiliating necessity for a serious artist. That’s where we find him today, reflecting on his training in France and his attempts at being a serious clown while dealing with bratty children and demanding corporate-world parents at a birthday party in Birchgrove. The children and adults alike constantly belittle his occupation, with escalating humiliations culminating in a grim tragedy and moment of cathartic revenge.

I say one-and-a-bit man because while written and performed as a solo act by Michael Louis Kennedy, he employs the use of five audience members to read out the parts of several children at the party, which was a fun and fresh way to expand the story and involve the audience.

 

 

While the show is short and sharp, coming in at fifty minutes, the pacing is spot on. The story takes it’s time and is never rushed, with plenty of jokes to keep you laughing. Kennedy has a great sense of timing, not only when he tells the jokes but also in telling the story as Paulie, often mimicking other characters as he brings the events to life. It often felt like a stand-up comedy act, with careful pauses to allow for laughter or dramatic effect.

But the show also has a serious side, exploring how traditional family structures and views on parenthood often disparages the lives of queer or childless people. Anyone outside of a traditional role in a heteronormalized nuclear family is questioned, mocked, and belittled, with children prioritised over Paulie’s dignity. These ideas were never forced or obvious, yet played a vital role as the thematic foundation.

I had a lot of fun, as did the rest of the audience, who couldn’t stop laughing until the end and then jumped to give Kennedy a standing ovation. Be careful though, this clown act is very much for adults only.

The Balloon Dog Bites is playing at the Old Fitz Theatre in Woolloomooloo, Sydney until the 5th of September.

To book tickets to The Balloon Dog Bites, please visit https://www.oldfitztheatre.com.au/the-balloon-dog-bites.

Photographer: Phil Erbacher

Spread the word on your favourite platform!

Number 24

Number 24 (Opening Night Gala )

Number 24 – Scandinavian Film Festival Rating

★★★★★

Click if you liked this article

1

“I have five drawers in my head. The three top drawers I open all the time. Draw number four I open less often. I closed the bottom drawer May 8th 1945, and haven’t opened it since.” So begins Number 24 (NR24), a Norwegian espionage thriller set in World War 2 that opened the Scandinavian Film Festival in Sydney.

Directed by John Andreas Anderson (Uno, North Sea), it tells the true story of Gunnar Sønsteby, a young accountant who joins the resistance movement after Norway is occupied by the Germans and becomes a national hero. Given the code-name Number 24 by British intelligence, Sønsteby risks capture, torture and execution to sabotage the German war effort, owing his success to careful planning and preparation. Soon he finds himself in charge of a resistance cell called the ‘Oslo Gang’ and wanted by the Germans.

The story is told through an episodic series of flashbacks as an older Sønsteby (Erik Hivju) gives a lecture to a group of schoolchildren. The symbolic passing of knowledge and experience from the older generation to the young is used as a reminder not to forget these stories. Torture and interrogation are shown with brutal detail to drive home not only the risks faced by the resistance, but also the sacrifices made by real people that this movie is about.

Children in the lecture confront Sønsteby with questions regarding the ethics of killing, not only Germans but fellow Norwegians, and he explains that he did what had to be done, and it’s hard to understand without having experienced war for yourself. In the current global climate of conflict across the world, it’s a poignant reminder that life and ethics are very different during war.

The wartime Sønsteby is played by Sjur Vatne Brean, giving a strong portrayal of a man who must learn to kill without prejudice in order to perform his duty. Both Brean and Hivju have a striking resemblance to each other, convincingly playing the very young and very old Sønsteby respectively. The cinematography is strong and gives a clear sense of two different periods in history, with the modern day shot like a documentary that convincingly beds in the reality of the story.

The action scenes in World War 2 are grand and explosive, with a huge scale and a great amount of detail for historical accuracy. You can tell the script was written by a historian and journalist (Espen Lauritzen von Ibenfeldt and Erland Joe) based on the biography by Petter Johannessen. Number 24 was a strong start to a great festival packed with fantastic cinema that I Highly recommend you attend.

The Scandinavian Film Festival is currently on across Australia until mid-August. Check ScandinavianFilmFestival.com for more information.

To book tickets to Number 24, please visit https://scandinavianfilmfestival.com/films/sca25-number-24.

Spread the word on your favourite platform!