Djuna review

Djuna is a sexually charged thriller that explores power, vulnerability, and the unsettling dynamics between two complex strangers. Set within the claustrophobic walls of a hotel room, the play pulls the audience into an intimate yet suspenseful psychological struggle between two people who meet to play out a mutual fantasy. Written by Eva Rees, Djuna keeps you second-guessing everything you hear and see until the very last moment.

Dion Mills delivers a captivating performance as Marcus, the right-leaning, financially successful, cisgender heterosexual male. From the instant he steps onto the stage, his presence demands attention. Every aspect of his portrayal, from his confident stride to his phone conversations before Djuna’s arrival, reveal a man brimming with self-assurance with Mills holding a commanding energy that fully embodies Marcus. As cracks begin to show in his demeanour, they reveal an intricate side to the character, providing further dimension to his otherwise unshakable exterior.

The Removalists review

It’s been 54 years since David Williamson’s The Removalists premiered at La Mama, a gritty, darkly humorous examination of domestic violence and abuse of power. Fast forward to 2025, and the Melbourne Theatre Company’s production proves the play still packs a punch, delivering a searing exploration of violence against women and systemic corruption.

The narrative follows a tense encounter between two police officers, the corrupt, manipulative Sergeant Simmonds (Steve Mouzakis) and the naive rookie Constable Ross (William McKenna), who are called to assist Fiona (Eloise Mignon) in leaving her abusive husband, Kenny (Michael Whalley). What begins as a routine removal spirals into a savage climax, revealing the casual cruelty of law enforcement and the failures of authority. As the violence escalates, Constable Ross is pulled into Sergeant Simmonds' toxic influence, blurring the lines of justice and brutality.

Boys on the Verge of Tears review

A public bathroom is a private moment to do one's business. For most people, you're in and you're out. But in Boys on the Verge of Tears, a public bathroom becomes a confessional of sorts, as 40 male characters spill their secrets, fears, and repressed feelings regarding masculinity, from the safety of these fluorescent-lit walls.

With a cast of five actors - Ben Walter, Karl Richmond, Justin Hosking, Damon Baudin, and Akeel Purmanund - the talented ensemble showcases exceptional chemistry and skill. Under Keegan Bragg’s direction, they execute seamless and surprising character transitions complete with swift costume changes. Vocal coach Matt Furlani has achieved brilliant results in bringing out the London accents, and even when racing through dialogue or falling into drug-induced stupors, the performers convincingly maintain their accents.

The Robot Dog review

Janelle, a woman of Cantonese heritage, and Harry, a First Nations man, are a seemingly happy couple living in Australia in 2042. When Janelle's mother dies, she and Harry move into her mother's home as they attempt to clear out the house. But this is 2042, so there are a few distinct additions to this home, such as an AI system that controls their daily movements (sometimes literally), and a robotic therapy dog.

As they begin packing and cleaning, the two are forced to confront their own cultural identity and the way it has shaped them, even if they feel little attachment to it. Written by Roshelle Yee Pui Fong and Matthew Ngamurarri Heffernan, The Robot Dog, offers a quirky exploration of how technology has become an inseparable part of our lives, particularly in an ever-changing world.

Goldfish review

Goldfish is a striking collaboration between Tasmanian puppetry company Terrapin and Japan’s Aichi Prefectural Art Theater. It’s a playful yet thought-provoking exploration of nature and climate, urging audiences to reflect on the lasting impact of human action (or inaction).

The play begins with Mayu Iwasaki using shadow puppets to tell a story. Dylan Sheridan’s layered sound design and Greta Jean’s delicate puppet creations lull us into a hypnotic dreamscape, making the opening moments feel otherworldly. But that tranquillity is soon shattered when two volunteers from a Disaster Response Coordination Team (CRDT) burst into the theatre announcing that a flood has hit the city, and we - the audience - are now evacuees.

Turning 25 review

Two women meet. They have various conversations on important topics such as what it feels like to fall in love, are humans ultimately evil, and can you separate art from the artist. Inspired by Samuel Beckett's Waiting for Godot and Betty Friedan's The Feminine Mystique, Turning 25 is a feminist absurdist examination of women's wants and desires in the modern world.

Similar to Waiting for Godot, Turning 25 lacks a clear plot, climax, or resolution. In this production though, the two women race through random threads of conversation as they provide commentary on society and evaluate their lives. You can see John's Wife (Eleni Vettos) has adopted some of Vladimir’s philosophical traits, while the Unnamed Woman (Gillian Mosenthal) mirrors Estragon, with less abstract thinking and a more childlike quality. Vettos and Mosenthal present confidence with Georgie Hindle's script and find a good balance in highlighting its humour and vulnerability.

Never Have I Ever review

Faced with shutting down their restaurant and an inevitable bankruptcy claim looming, Jacq and Kas invite their friends / investors Tobin and Adaego, for dinner to break the news to them, and potentially seek a second lifeline. But in Never Have I Ever, things don't go according to plan and soon enough the four are drunk and high, and conversations and challenges around sexism, racism, misogyny and classism begin to rear their ugly heads.

Chika Ikogwe is utterly brilliant as Adaego, who as well as being an upper class black journalist is also a self proclaimed activist for women in business. Ikogwe is paired up perfectly with Simon Gleeson as her exceptionally wealthy and pompous husband Tobin who despite being thinly written, is given adequate layers by Gleeson's performance that keep him interesting. The highlights of the show are when these two are going at each other, with both finding the comedy and the truth of their characters in an extremely convincing way.