Robots On The Rise

R.U.R. (Rossum's Universal Robots)

R.U.R. (Rossum’s Universal Robots) Rating

★★★★★

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5

Rossum’s Universal Robots is a science fiction play written by Karel Capek and directed by Robrecht Herfkens. It is a four act play with two intervals, lasting about two and a half hours.

This production is set in the past and the main actors really set the tone of the era. Tod Trotman is amazing at delivering continuous dialogue and does a remarkable job with his mannerisms to capture the era. Candice Preston, who plays Helena Glory, is passionate and does a wonderful job with her expressions. She makes the audience feel included with her dialogue. The production includes a wide cast of all ages and the robots do a magnificent job at making you feel on the edge of your seat as they begin to take over the world. The performance of Radius, played by Stephan Pfister, is unnerving. The actors who play the group of managers continue acting in the background, creating realism to the scene. The way they portray the characters after the interval makes them believably older.

 

 

Both the set and costumes also do a wonderful job of setting the era. The set painting is a work of art and in between acts, there are massive changes to the impressive set build, giving the audience plenty to look at. The interior and exterior set is very unique, allowing the audience to view both sets at the same time. Lighting changes are infrequent but effective, especially towards the end, when there is a short strobe light sequence. The costumes are simple but effective. The robots wear simple white jumpsuits and the humans wear dresses and suits. As time passes throughout the performance, the costumes and hair changes reflect the passage of time.

Music is scarce but when it is played, our attention is drawn to it. Sound effects during the performance surround the audience, making us feel included. During the intervals, robotic-like music is played for our entertainment and during the second interval, the theater becomes immersive with the theatre staff dressing up as the robots.

It is very interesting to think about how this play was written in the 1920s but still captures the issues of A.I. that are rising today. I think it was an excellent choice of the theatre to choose this play (and to keep it in the era it was written, as opposed to reimagining it in our future) as the themes are still relatable and it is interesting to see how the robot takeover was envisioned in the past. This is a great show for the science fiction lovers among us.

Rossum’s Universal Robots is playing at Roxy Lane Theatre on May 23rd, 24th, 29th, 30th, 31st and June 4th, 5th, 6th, 7th.

To book tickets to R.U.R. (Rossum’s Universal Robots), please visit https://www.taztix.com.au/event/roxylanetheatre/.

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Brace Brace: Poignant, Rapid-Fire and Darkly Comedic – A Must See

Brace Brace

Brace Brace Rating

★★★★★

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Ray and Syliva meet across a crowded room and instantly fall in love. Within a year, they are married and heading off on the honeymoon of a lifetime, three weeks on a distant beach, twelve hours away.

But somewhere between take-off and landing, everything changes.

Soon after we strap in for Pip Theatre’s latest theatrical journey, we are taken by turbulence; Brace Brace follows the trials and transformation of trauma, avoiding didacticism, but with plenty of lighter moments to lift the mood. This is a story of survival that counts the cost, asking the most compelling of questions: what would I do?

Written by playwright Oli Forsyth, Brace Brace is a tricky script to perform, traversing time and space, boasting clipped, rapid-fire dialogue, full of interjections – handled here with aplomb. The story is thematically balanced, tight and well-paced – the truth and precision of delivery a testament to the production’s thorough preparation. I enjoy the immersive presentation, complete with inflight announcement, airline safety instructions for the program, and nice pictures of the newlyweds in the theatre foyer.

 

 

The cast are Henry Solomon as Ray, Amelia Slatter as Sylvia and Matthew Filkins in multiple roles. Each actor shows nice emotional range, giving light and shade amidst distress and resilience; The portrayals are contemplative, sharing shifting perspectives on morality, accountability and moving on. Solomon and Slatter show spontaneous, fluid movement, with nice connection – and at times anguished disconnection – as the honeymooners. The story relays how they met, and the incident that changed their lives on the way to their honeymoon, the initial exhilaration turning to examination as the couple trade places in their reactions; She is initially philosophical but ultimately finds it hard to forget, he is initially more uncomfortable – with the framing of the event, and perceptions around his role in both that and perhaps his role in their relationship more broadly – but then is better able to check his emotional baggage.

Solomon and Slatter beautifully highlight the tension between honouring your own experience and freeing yourself from it – a challenge Ray and Syliva struggle to overcome. Filkins shows good versatility in his roles; His multiple casting works especially well here, where the presence of one character he portrays looms large throughout, despite only a brief physical appearance on stage.

Overall, Brace Brace is thought provoking and rendered with honest emotional weight, seasoned with levity. The fight scenes are well handled in the intimate space, the simple set all that is required to bring the story to life. Poignant, rapid-fire and darkly comedic, Brace Brace is a triumph for director Deidre Grace and the entire Pip Theatre team. A must see.

To book tickets to Brace Brace , please visit https://piptheatre.org/brace-brace/.

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A Whimsical, Joyful, Surprisingly Current Night Of Musical Theatre

Cinderella

Cinderella Rating

★★★★★

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6

The magic of Hills Musical Theatre Company’s Cinderella began as our complimentary programme arrived with a gift voucher for the canteen (and if that isn’t community theatre done right, I don’t know what is).

The set up is cabaret style. You can bring your own snacks and/or purchase from the canteen. We were then shown to our table. I loved the idea of this cabaret style, but in execution it’s a bit tricky. We were seated with others, which is a lovely way to promote the community, but it means you need to be aware of each other and visibility. I recommend you get there early enough to negotiate comfort. I had to move away from the table to properly enjoy act 2.

That small logistical wrinkle aside, this show was fantastic.

The stage itself announces its ambitions immediately. Set design by Hannah Aouchan and Keith Macbeth glitters with fairy-tale intention, and as the ensemble assembles to open the show, lighting design by Max Tibbles and Jeremy Cardew at Latarka bathes the whole scene in something genuinely enchanted. Musical director Gemma Rolph’s orchestra; live, warm, and present, does what only a live pit can do.

Into all of this steps Claire Polczynski as Ella, and she has the voice of an angel. Polczynski grounds this Cinderella in something more than sweetness; there’s a steeliness beneath the warmth, a Cinderella who knows her own worth even when the world around her doesn’t. It sets up the show’s quietly progressive take on the classic.

 

 

This version leans into political satire that lands with a particular sting of relevance; a royal wedding deployed to distract from poverty and stifle revolution, an advisor with his own nefarious agenda, a prince naive to the divide between haves and have-nots. Deniz Dogan plays Prince Topher with a commanding presence that makes his ignorance sympathetic rather than infuriating, and Sebastian Barons is a convincing, credible puppet-master pulling the strings behind him. Theo Cuelho’s cameos as Lord Pinkleton are enjoyable, and Lachlan Hopkins brings charisma and genuine earnestness to Jean-Michel, a revolutionary whose eye only strays from the cause long enough to find Stepsister Gabrielle’s. The show’s comedic MVP, however, is Josephine Pinto as Crazy Marie; and then, as the Fairy Godmother, Pinto delivers a solo to rival Disney.

Kortana Blissett as the Stepmother deserves her own paragraph. Impressively terrifying and clearly relishing every moment, Blissett finds the comedy in the menace without ever letting you feel entirely safe. Blissett and Annie Beardsley, playing Charlotte (the other Stepsister) are a fun comedic duo.

And the costuming, by Angela East and Emma Stanton, that surrounds all of this is extraordinary. The magical transformation sequences are achieved with such clever ingenuity that they serve as a reminder that community theatre, with the right hands on deck, can eclipse a big budget entirely.

Emily Taylor’s choreography leans into the classic musical theatre register while giving the ensemble room to be genuinely joyful together. This is a large cast spanning a wide age range, and every performer seems to know exactly why they’re there. The show’s youngest scene-stealer, Mackenzie Scott, is all kinds of adorable and already very much at home on the stage (watch this space).

In the interval, the company president spoke about what Hills Musical Theatre Company means to its community, and it wasn’t hard to believe. The values the show celebrates; kindness, generosity, charity, are clearly embodied by the powers that be. That spirit is woven into every corner of the evening, from the canteen voucher to the curtain call.

Cinderella is a whimsical, joyful, surprisingly current night of musical theatre. We’d have happily risked turning into a pumpkin if it had kept going.

To book tickets to Cinderella, please visit https://www.hillsmtc.com/.

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Come you Spirits’ Romeo and Juliet: Immersive and Impressive

Romeo & Juliet

Romeo & Juliet Rating

★★★★★

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Romeo and Juliet. Two starry-eyed lovers whose story ends in tragedy. This iconic and universally known play has been performed globally for centuries. The Shakespearean theatre group Come you Spirits’ performance of Romeo and Juliet onstage at the Darling Quarter Theatre, directed by Charles Mayer and Jo Mayer, was immersive.

Through the very first inclusion of the gentle tapping of a suspended gong by Charles Mayer, and the deep, beautiful sustained vibrational tones that Jo Mayer produced on the crystal singing bowl, the audience was introduced into the world of Shakespeare in a truly magical and harmonious way.

Romeo, played by Ciarán O’Riordan and Charlotte Edwards as Juliet performed the title roles. Both actors conveyed their characters’ young love with an earnestness and innocence, and in the second act, with the desperation and anguish that the characters needed. Who wouldn’t swoon with Romeo’s line, “Heaven is here, where Juliet lives.” O’Riordan aptly portrays Romeo’s intensity of his emotions, aligning Juliet with celestial skies, and taken alone without context of the whole quote, it is one romantic quote!

Edward’s delivery of one of my favourite lines was perfection –
“My only love sprung from my only hate,
Too early seen unknown, and known too late!
Prodigious birth of love is it to me
That I must love a loathed enemy.”

 

 

In one scene, Edwards was riveting as she faced the heartbreaking choice of following her father’s wishes of Juliet marrying a man he had chosen that she did not love, or face an uncertain future. Lord Capulet, played with a fierceness by Charles Mayer, had a cold stage presence which demanded obedience, or Juliet would be disowned and thrown out onto the street to survive on her own. This scene was particularly strong, and clearly conveyed as the turning point for Juliet’s future plans.

Mayer also played The Friar, the gentle well-meaning clergyman who secretly marries Romeo and Juliet in the hopes of bringing the two feuding families together, as well as being pivotal in providing the potion to Juliet. The two characters’ different personalities showcased Mayer’s acting talent.

Jo Mayer took on dual roles as Juliet’s Nurse and Tybalt. Her depiction of The Nurse was warm and nurturing, serving as a trusted confidante to Juliet. In stark contrast, Mayer brought great energy and passion to her portrayal of Tybalt, capturing their fiery temperament.

David Halgren accurately portrayed Mercutio as the lovable rogue that his character is. He captured the boisterous charm and brought a fiery zest to Mercutio, clearly shining and delivering the bawdy humour directly to the audience. His untimely demise, with the famous lines –
“A plague o’ both your houses.
They have made worms’ meat of me.”
was hard hitting and led to a chain of events that shaped Romeo’s future.

All actors’ accents and, in my opinion, difficult cadence of the Shakespearean language was performed with flawless professionalism throughout the play.

Another original touch to Come you Spirits Romeo and Juliet was the setting. Verona was set in the barren post-apocalyptic land. The characters wore bandanas and gaitors to cover the lower parts of their faces, in part to disguise who they were and to protect themselves from the tumbling dust from sandstorms and brown leaves strewn around the stage. Lighting and sound played a large part in this play, with spotlights, sirens and announcements from the unseen higher hierarchy that alluded to a chaotic environment.

Lighting Design was by Adam Applebaum and the mood he created set the play’s authenticity to bringing our attention to where he wanted us to be.

Kudos to Brandon Read, who composed and performed original music for Romeo and Juliet. Together with his sound design, it completed this magical play. The audience heard Gregorian Chanting, and Read composed the tracks to Solfreggio frequencies, which throughout the show, aligned with our seven chakras.

This was a truly original experience, different to any Romeo and Juliet play I had previously seen. The characters’ movement around the theatre, into the area where we were, and talking to the audience gathered us all together. Shakespeare would have been impressed seeing this interpretation of Romeo and Juliet through Come you Spirits eyes. And he would have left feeling peaceful and fulfilled, at a night witnessing a tale of comedy and tragedy, ending with a grounding and beautiful meditation of gratitude to people and nature. This is a gorgeous production of Romeo and Juliet, do not miss seeing this and being taken away into the world of Shakespeare.

Romeo and Juliet is showing at Darling Quarter Theatre 20 – 22 May 2026 and at the Concourse Theatre Chatswood 28-30 May 2026
Tickets: www.comeyouspirits.com/in-sydney
Running time: 2 hours with a 15 minute interval

To book tickets to Romeo & Juliet, please visit https://www.darlingquartertheatre.com.au/event/come-you-spirits-romeo-and-juliet/.

Photographer: Syl Marie Photography

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