Robert the Octopus review | Midsumma Festival | Brunswick Mechanics Institute

In Robert the Octopus, Sadie has a crush on a co-worker but thanks to the modern world, their interactions are solely online and via Zoom meetings. In an attempt to gain her co-worker’s attention, Sadie buys a pet octopus named Robert. Eventually, it's enough to lure Georgia over to visit and from there, things begin to get ridiculously complicated as Sadie seeks advice from Robert on what to do next.

Queer emerging writer Alex Duncan has previously shown promise for highlighting the absurdities within the mundane with his work Rakali, but this outing could benefit from further development. What in theory could have been a fascinating narrative, in practice is a script that is light on substance and plot progression. The exchanges between characters are rudimentary and missing a spark, and while there are hints at humour, it rarely builds tension or generates laughs. At one point, it looks like the play is going to go somewhere regarding power and control and who has it, but that concept wraps up shortly after it is introduced.

The responsibility then falls on director Kimberley Twiner to bring Robert the Octopus to life, and while she does a commendable job, the first half of the show relies heavily on physical comedy and clowning, with very little dialogue or story building. But the humour can only carry the audience so far, as Sadie and Robert continue to writhe around each other and push each other’s buttons in recurring scenarios. That said, Twiner’s direction is astute and clever, revealing layers and perspectives in the material that might otherwise go unnoticed, reinforcing her sharp eye for timing, rhythm, and visual storytelling.

Lily Fish is incredible as Robert, crafting a highly specific physical language for the octopus. Even within the limits of a human body, she moves as though she possesses eight limbs rather than four, her gestures layered, restless, and quietly industrious. Fish’s ongoing talent for non-human parts is on full display, blending cheeky obstinacy with a slippery, sea-creature intelligence, echoing the precision and playfulness she has brought to her earlier animal performances in Rakali.

Mich McCowage and Hallie Goodman (as Sadie and Georgia) are strong in their roles, though for much of the tale their characters remain relatively unchanging. Their heightened personas, while fun and vivid, can at times feel a touch repetitive - but both demonstrate a commitment and presence that keep the performances enjoyable throughout.

Robert the Octopus is a quirky and occasionally charming exploration of contemporary romance and absurdity, lifted by insightful direction and a committed, physically expressive cast. While the script leaves some threads underdeveloped and the humour doesn’t always land, there are moments of genuine wit and inventiveness. There is a brilliant team on and off stage in this production, but here the ambition slightly outpaces the execution. This could be a truly engaging piece, yet as it stands it feels more of an idea in motion than fully realised.

Click here to read our interview with director, Kimberley Twiner. 

SHOW DETAILS

Venue: Brunswick Mechanics Institute, 270 Sydney Rd, Brunswick
Season: until 7 Feb | Wed - Sat 7pm, Sun 4pm
Duration: 60 minutes
Tickets: $40 Full | $30 Conc
Bookings: Midsumma Festival

Image credit: Darren Gill