theatre works

Tucked away in Theatreworks’ blink-and-you’ll-miss-it supplemental venue, the aptly named Explosives Factory, “Brothers Bare” explodes with creativity, menace, and an unnerving relevance. This darkly comic, sharply observant production takes the fertile soil of Brothers Grimm folklore and replants it in the uneasy terrain of modern life — specifically, the digital dating world, social media perfectionism, and the real-life horror of hidden agendas. It’s as confronting as it is captivating.

Written by Jessica Fallico and Iley Jones, the play takes classic nursery rhymes and fables — often sanitized for contemporary children — and strips them back to their grim roots, before repurposing them as cautionary tales for today’s world. The result is an inventive and affecting piece of theatre that blends rhyming prose, movement, and shadow puppetry in ways that surprised and disarmed the audience.

The space itself — small, industrial, and intimate — works to the show’s advantage. There’s something unnerving about being so physically close to the action, especially in a production so focused on exposing the hidden terrors of seemingly safe, everyday situations. It amplifies the tension and vulnerability on stage and makes the audience complicit in the dark journey unfolding.

The ensemble — Grace Gemmell, Elisheva Biernoff-Giles, Charlie Veitch, and Dion Zapantis — is formidable. Each performer brings a distinct intensity to their roles, switching between characters and archetypes with remarkable fluidity and precision. Whether embodying twisted versions of familiar childhood figures or portraying modern personas lost in digital disconnection, their performances are sharp, committed, and often deeply unsettling. It’s rare to see such consistency in an ensemble cast — each actor not only held their own but elevated one another in moments of shared stage time.

Choreographer Cameron Boxall deserves special mention for crafting sequences that punctuate the narrative with physical storytelling that is both poignant and restrained. Movement here isn’t ornamental; it deepens the emotional and thematic weight of the show. One particular sequence, exploring the disintegration of identity through curated online personas, was particularly memorable — beautifully composed, visually haunting, and emotionally resonant.

The use of shadow puppetry is another triumph. Rather than gimmickry, the technique is deployed with precision and purpose, often representing the lurking fears and dark fantasies that exist beneath the surface of our everyday lives. These moments — brief, almost ephemeral — leave a lasting impact, suggesting more than they show and allowing the audience’s imagination to fill in the gaps with dread.

What elevates “Brothers Bare” beyond clever concept is its unwavering commitment to its message. Rather than lecturing us, it seduces the audience into familiarity before pulling the rug out. This is theatre that plays with expectations — and with its audience — to make us question the safety of the stories we grew up with and the realities we now inhabit.

Despite its modest setting, this is a production with big ambitions. Its themes are bold, intellectually sharp, and emotionally potent. The fusion of form and content — from the lyrical script to the expressive choreography and visual flair — is remarkably cohesive, making for a rich, multi-sensory theatrical experience.

As a highlight of this year’s Fringe Festival, “Brothers Bare” proves that some of the most powerful theatre can emerge from the smallest of spaces. With its relevant themes, inventive execution, and standout performances, it wouldn’t be surprising to see this production return — and on much larger stages. It’s a haunting, timely reminder that the scariest monsters are no longer in the woods, but often behind screens or waiting with open arms and hidden intentions.

Don’t blink — you’ll want to remember “Brothers Bare”.

To book tickets to Brothers Bare, please visit https://www.melbournefringe.com.au/whats-on/events/brothers-bare.

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