Zaffé review

Upon arrival to Zaffé, we are greeted by a host who tells us to take a seat inside. There are six long tables on either side of the room and there is plenty of conversation and chatter taking place. Once all the guests have settled, we are officially welcomed to the zaffé with a chorus of Arabic call and responses.

Stemming from the Muslim culture, zaffé is traditionally a procession at a wedding that is filled with love, warmth and energy. Except tonight's wedding has no bride or groom. The people in this room are the bride and groom and we celebrate this community and the love, warmth and energy that is present here.

Edging review

In Edging, Australian border control practices are explored through a queer lens and a smattering of pop culture references. Initially coming across as a bit of fun talking about getting into infamous German nightclubs and horoscope guessing, Edging takes a look at the treatment of refugees as they attempt to enter, and remain, in Australia.

Co-creators (along with APHIDS) and performers, Sammaneh Pourshafighi - who came to Australia as a refugee from Iran - and Eden Falk - who did voiceover work for the reality TV show Border Security - are a fascinating duo. It's captivating watching the power dynamics shift between them as they discuss the choices they have made in life that brought them to this moment and the moral and ethical implications of these decisions. The pair role play various airport scenarios, with a focus on the challenges faced by queer refugees during their visa applications.

弦外之影 Hidden Tunes review

Presented by Small Ripples Theatre, 弦外之影 Hidden Tunes is a Mandarin language pop musical focusing on the #MeToo movement at a prestigious music university. Exploring the themes of sexual assault and violence against women within a musical setting comes with its own challenges and sensitivities, and for the most part, this production does an admirable job at presenting entertainment through pain.

A group of students are ready to take on the new year at university under the tutelage of the revered and influential Professor Yang. When Xiao Qian (Lansy Feng) is assaulted by the Professor, rumours spread like wildfire across the campus, with even her friends uncertain as to who or what to believe. The story is predominantly told through the eyes of A Jia (Yujia Du) a new student and friend to Xiao Qian who strongly suspects something terrible has happened, but where acknowledging it would cause problems for her.

Cliffhanger review

Writer Holly Childs and choreographer Angela Goh have spent the last five years examining the idea of a cliffhanger, both in its literal sense as well as its storytelling device that keeps people hooked in and wanting more. Cliffhanger is the culmination of that collaboration and while the commitment is there, the result is a mixed bag of impact and exploration.

We are provided with a copy of the script to the production, so we know ahead of time Goh's lines. In some ways, this plays with the concept of the cliffhanger, of knowing what's going to come but not knowing how it's going to be delivered or when exactly.

My Brilliant Career review

Written in 1901 by Miles Franklin, My Brilliant Career follows a young woman living in country Australia in the late 19th century who desires something other than marriage and domesticity. Fast forward 120 odd years and this has been reimagined into a wonderful musical with book by Sheridan Harbridge and Dean Bryant, music by Matthew Frank and lyrics by Bryant.

Actors and musicians perform as one, with the cast adopting both roles. Kala Gare possesses an effervescent defiance as Sybylla, the teenager who wants more than to live happily ever after with a husband. Her changing moods and conflicting aspirations and uncertainties are superbly presented by Gare. She delivers many show-stopping songs that pull you out of your seat and right into the moment where nothing else exists except seeing her belting out a tune.

Peter and the Starcatcher review

Adapted to the stage in 2011 by Rick Elice, after the 2004 novel, Peter and the Starcatcher serves as an origin story for Peter Pan, Tinker Bell, Hook and Mrs Darling from Peter Pan. Two ships are bound for the kingdom of Rundoon tasked with delivering precious cargo. An assortment of characters find themselves onboard and through a series of circumstances and choices, end up stranded on a strange and seemingly uninhabited land. And so begins the whimsical tale of The Boy who doesn't want to grow up.

There is a wonderful ensemble in this production including Paul Capsis and Alison Whyte, who are always a delight to watch. Otis Dhanji as The Boy portrays a sensitivity and yearning for the apparently unachievable that is evident the instant he appears. Olivia Deeble shows great skill in displaying the deep fire and conviction that lies inside the stubborn yet fearless Molly. The scenes between Dhanji and Deeble present a touching and blossoming relationship, and their closing moments, while slightly rushed, are treated with considerable emotion and affection.

Lady MacBreast review

It's hard to believe that Po Po Mo Co (Post Post Modern Comedy) is almost ten years old. This queer collective of theatre makers has been making work as a group, and as individuals, that frames the world via a lens that is wild, absurd and stupid. Its new production of Lady MacBreast - no guesses as to what this is about - indicates there's no signs of them slowing down, and is a perfect reminder of the intelligence and creativity they possess.

Performed and devised by Kimberley Twiner, Lily Fish, Hallie Goodman and Phoebe Mason, Lady MacBreast does not shy away from going too far. While the narrative keeps true to that of Macbeth, the way scenes and characters are presented bring constant laughter and gasps of shock and surprise from the audience. The opening scene of the three witches meeting, with their ridiculously unkempt hair and not much else in terms of clothing, begins our queer and subversive journey of what John Waters' work would look like if he'd been around in Shakespeare's time.

Golden Blood review

In Golden Blood, a 14-year-old girl is left under the care of her 21-year-old brother, whom she hasn't seen for seven years, after the death of her mother. Through him, she is introduced to the world of gangs, drugs and violence, and it isn't long until this begins to enter the sanctuary of her home and changes the way she remembers her life before she became an orphan.

Merlynn Tong's performance as Girl is quite impressive given that we first see the character at 14 and watch as she grows into a 21-year-old woman. Her physicality, facial expressions and language is authentic and she perfectly captures the innocence of a child and the gradual erosion of that as she faces the harsh realities of life. Charles Wu as Boy delivers an equally remarkable turn as he presents himself with youthful bravado while allowing flashes of vulnerability to emerge as the trauma of his childhood becomes impossible to hide. The two make an exceptional pair and the brother-sister bond (or lack off) is easily established and deepened during the show.