Rabbit & Watson review | Darebin Arts Speakeasy

Love has always inspired stories of devotion, sacrifice and impossible odds, but few take that journey quite as literally as Rabbit & Watson. Shane Woon's latest work reimagines the Chinese mythological figure Tu'er Shen, the Rabbit God of gay matchmaking, placing him in the unlikely world of Australian football. When Rabbit's centuries-old lover returns as Watson, a rising AFL player, he must navigate love, identity and the expectations placed upon him across the celestial and human realms. Blending Chinese mythology, Boys' Love, fantasy and AFL culture, Rabbit & Watson is a thoughtful exploration of what it means to search for belonging while carrying the weight of history, family and tradition.

Normally, I would bristle at the idea of a two-hour show without an interval, but Woon's concept and storytelling are so intriguing and refreshing that I never found myself growing restless or checking the time. Even so, the script would benefit from some judicious editing to tighten its structure. A subplot involving young footballers Cypress and Jaxson could be removed without diminishing the central narrative or its engagement with homophobia, sexuality, and relationships. With another character already questioning their sexuality, this storyline is repetitive rather than expanding the narrative, diluting the impact of the more compelling arcs.

Opera for the Dead | 祭歌 review | Arts House

Eight hours before stepping into Opera for the Dead | 祭歌, I had been at a funeral. It was a death that arrives without warning, even after a life well-lived. By the time I entered the space at Art House, the weight of the day had settled in. Rather than wondering how I might react, I found myself acutely aware of the strange symmetry, moving from a real farewell into an immersive exploration on life and death.

Created by Mindy Meng Wang and Monica Lim, the work fuses music, visuals and technology into a contemporary Chinese cyber-opera that is both ancient and strikingly modern. Before the show begins, the audience is gathered into a “waiting room”. Chanting hums through the space, cyclical and meditative, while an electronic sign suspended above us flashes the word REMEMBER, its glow washing over us like a quiet instruction. The atmosphere is deliberate, balanced between worlds.

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.

Miss Peony review

We have all heard of the expression "be careful what you wish for", but in Miss Peony, the more appropriate expression would be "be careful what you promise on your Poh Poh's deathbed". When Lily agrees to enter - and win - a beauty pageant competition just as her grandmother passes away, she is forced to see it through or risk being haunted by her Poh Poh for the rest of her life. Written by Michelle Law, Miss Peony takes its audience into the world of beauty pageants with plenty of humour and heart.

The relationship between Lily and her Poh Poh (in the living and the spiritual world) constantly moves from affectionate to exasperating as Stephanie Jack and Gabrielle Chan touchingly display the underlying tension, grief and regrets they feel. Chan is full of personality as Adeline, Lily's Poh Poh. Her matter-of-fact attitude and dishing of barbs is a joy to watch and while her fan dance is brief, it is one of Miss Peony’s most powerful moments due to the emotion that Chan carries in it.

Getting the inside scoop on being an outsider with Amelia O’Leary's new dance work A Certain Mumble

In 2023, Darebin Arts Speakeasy will celebrate a decade of ground-breaking and award-winning performing arts productions, with Amelia O'Leary's contemporary dance work A Certain Mumble making up part of its 2023 season. O'Leary, a First Nations Gamilaroi dancer and choreographer, will be working with Chinese Malaysian artist Janelle Tan Yung Huey as they explore what it feels like to be an outsider in Australia.

"Being an outsider in Australia means feeling different or like you don't belong," O'Leary says. "We particularly felt like outsiders by encountering indirect and direct acts and attitudes of racism. I also struggled with not belonging in certain institutions and social spaces. I can feel the eeriness and unsettling energies of so-called Australia. In a way, being an outsider helps broadens your perspective and makes you a more interesting and understanding person, but it can make you feel unseen, unheard and misunderstood."

Sweet & Sour Dilemmas - Melbourne Fringe Festival review

Chef Chung is the head chef of the Happy Dragon Chinese Restaurant in Gisborne where he spends his days preparing his famous sweet and sour pork dumplings, or what he refers to as White people Chinese food. Set entirely in the chef's kitchen, Sweet & Sour Dilemmas has Chef Chung questioning his decision to migrate to Australia with the approaching birth of his first child.

Partially based on his father's experience of moving to Australia, Brendan Wan finds great sensitivity in his retelling of a migrant story that we don't often hear about; Chef Chung lived a life of luxury and wealth but gave it all up when he came to Australia for love. The soon-to-be-father welcomes a new chef to his restaurant and amidst their training he begins to share his thoughts on uprooting his life and if it has actually been worth it.

Wan makes some considered observations on belonging and identity as Chef Kung grapples with the choice of moving back to Indonesia where there would be a sense of community and acceptance but life would be hard, and staying in Australia where everything is relatively easy despite constantly being seen as an "other". His cooking throughout the show plays as a reminder of his pride in his roots and culture but at the same time, it seems like the only acceptable employment for him is to work in a Chinese restaurant, where he puts on an accent to his customers and must beguile them with ancient stories about how his recipe for sweet and sour pork dumplings came to be.

Butt Donut - Melbourne International Comedy Festival review

After making her debut at the Melbourne Fringe Festival last year, Annie Louey has brought her Butt Donut back to Melbourne audiences. Louey was 16 when she almost died in a freak accident forcing her to deal with some very adult stuff. Butt Donut is an exploration of that pain and sorrow and what better way to tackle such dark issues than through comedy?

Louey has a welcoming presence on stage and she kicks off the show with some anecdotes that quickly puts the audience at ease. Louey has a solid grasp on her material and a clear idea of what it is she wants to discuss but this doesn't always translate in the show. While she predominantly looks at her own accident and the death of her father, the rest of the show feels like it's out of place.

Little Emperors review

In was in 1979 when - in order to control its population - China implemented a One Child Policy per family. While there were a number of ways that families could still have a second child, there were strict rules and regulations that had to be adhered to. In a society were males were more favourable, this law resulted in the murders of many female babies or families having to keep the existence of a second child a secret. In 2016, the Chinese government formally ended its One Child Policy.

Presented as part of Asia TOPA, Lachlan Philpott's Little Emperors is a look at one such family - while being representative of many - and the impact this law had on their lives and continues to do so. Alice Qin - making her Australian stage debut - is the standout as Huishan, who is in her 30s, single and still living with her mother in Beijing. Qin finds a delicate balance of guilt, frustration and resentment at the pressure of being the eldest child and the expectations placed upon her: that she marry and produce a grandchild for her mother, played by Diana (Xiaojie) Lin.