The Robot Dog review | Melbourne Theatre Company

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.

37 review | Melbourne Theatre Company

When the Aboriginal Marngrook cousins join the (all-white) local football team, it means a new hope of finally nabbing the premiership cup that has eluded the club for years. But as they inch closer and closer to victory, tensions begin to simmer. Written by Nathan Maynard, 37 explores the world of Aussie Rules and "Aussie rules" of identity, community, and racism within a local footy club of Cutting Cove Currawongs.

Maynard's story might take place at a local level but by setting it amid Adam Goodes' challenging years as a player for the Sydney Swans, he presents a global perspective to this small-town event. The Number 37 guernsey wearer faced a bombardment of constant booing from AFL audiences, being called an ape by a 13-year-old Collingwood fan and accused of inciting violence for performing an Indigenous war dance at a match where he mimed throwing a boomerang (and not a spear as was reported), towards the Carlton cheer squad.

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.

This Is The Dust We're In review | Hot Lunch | Melbourne Fringe Festival | Meat Market

Goodness, This Is The Dust We're In is an absolutely delightful show. Hot Lunch research and investigate existing stories and narratives, and in this production, they have turned their heads to Ray Lawler's Summer of the Seventeenth Doll, referred to as "the most famous Australian play ever written", with its exploration of growing up, gender norms, masculinity and idealisation vs. reality. It’s a lot to unpack in an hour, but Hot Lunch make use of every second to cover this and then some.

Written, developed and performed by Delta Brooks, Rebekah Carton, Thomas Richards and Henry Kelly, the quartet present their analysis in three parts: Nostalgia, Growing Up and Dreams vs Reality. Themes, characters and passages are utilised from the text liberally and loosely that allows Hot Lunch to place their own interpretation of how we can come to understand such an influential text.

Peacemongers review | Darebin Arts Centre

Bigotry. Discrimination. Exclusion. They can all go in the bin. We don't need them in society. In 2020, artist collective The People (headed by Morgan Rose and Katrina Cornwell) began to write about this. Along the way, a collaboration was formed with artists Sonya Suares, Samuel Gaskin, Kate Hood, İbrahim Halaçoğlu and Zachary Pidd, and gradually their approach changed from looking at what they don't like about society, to what they do like, and what a new world order should resemble, with a focus on inclusion. Which brings us to Peacemongers, an interactive, experimental, live art, musical theatre stage show that comes with dinner. Quite a mouthful!

Having seen this diverse group of performers (except for Halaçoğlu) in other projects, I was excited to see what the evening had in store for us. Hood unfortunately was unable to be part of the season due to interstate work, but she is cleverly kept as an integral member of the production through pre-recorded segments that blend in perfectly with the live performances. The group shares the challenges they have faced over the last four years, with references to covid and lockdown times and the numerous funding rejections they receive. They recall Peacemongers' evolution, including several working titles that reflected the nature of the project and the difficulties of creating a work that seeks to embrace everyone and provide a safe space for all.

Write-Off review | Melbourne International Comedy Festival | Charles Dickens Tavern

Sean Collier is a 26-year-old white, straight man from New Zealand and he has plenty to say. This is mainly about how screwed up his life is and how equally screwed up society is. Equipped with a microphone, a beer and a backwards cap, Write-Off is an opportunity for Collier to get a lot of things of his chest in an irreverent and brazen but highly entertaining stand-up routine.

Collier talks about growing up in New Zealand in a town where there were not many prospects and built on violence and racism. But he manages to bring these things together that remains honest to his experiences and concerns while providing a great deal of laughter. Drug use and addiction, prison, homelessness and even rimming are not exactly ground-breaking topics, but what makes Write-Off refreshing is the structure and punchlines and how dark Collier goes with his material.

ON/OFF review

We all have different parts of ourselves that emerge depending on our environment. This could be at work, home, social and anything in between. In ON/OFF, NICA’s third year Bachelor of Circus Arts students bring their on stage and off stage personas together in a distinctive production that allows them to present their skills and share their thoughts on what drew them to circus.

From the instant you enter the space, you can see this won’t be a traditional circus performance. Backstage has been transported into the theatre and you literally need to walk through it to reach your seat, getting up close and personal with the ensemble as they warm up, put final touches to their hair and make-up, and make any costume adjustments.

How Do I Let You Die? review

In February 2020, while dealing with bushfires and the looming pandemic, Michele Lee called her parents every day for 30 minutes. How Do I Let You Die? is a culmination of those conversations resulting in a gentle interrogation of life and death through the perspective of her Hmong parents and Lee's relationship with them.

As we take our seat, actor Alice Qin sits at a desk covered with post-it notes and politely acknowledges us. She introduces herself as writer Michele Lee, and begins to share with us the conversations with her parents, what brought her to that point and where these conversations led her.

Alienation review (Melbourne Fringe Festival)

Expectations are high as I walk into the NICA performing space, and see Jake Silvestro and Romain Hassanin sitting in a boat suspended in the air. Created by the two circus artists, Alienation is a physical theatre show that examines what happens when your survival depends on those around you and understanding your environment.

While there's no denying the skill and strength that Silvestro and Hassanin possess, the show left me unexcited and unfeeling. The tricks and acrobatics become repetitive and resemble warm-up activities, things that get the audience anticipating the big stuff. Rollerblades, a hula-hoop and a cyr wheel all make an appearance but they don't eventuate into anything. They disappear as quietly as they appear.

Jake Silvestro on bringing together circus, nature and rollerskates | Melbourne Fringe Festival interview

Put a group of people together in any situation and there are bound to be disagreements and arguments. Put a group of people together in an unfamiliar environment and things will intensify even further. Created and performed by circus artists Jake Silvestro and Romain Hassanin, Alienation is a physical theatre show at Melbourne Fringe Festival that explores our relationships and interactions with each other and nature.

Silvestro and Hassanin have been collaborating on Alienation since 2020 but it wasn't until Silvestro happened to come across a quote by art critic Martin Gayford that he realised what it was they wanted to say. "Romain and I had some ideas about what we wanted to do, but couldn't firmly say how they were connected or socially relevant. I find with projects that build over long time periods, the downtime between rehearsals is an opportunity to keep your eyes open and see what is out in the world that corroborates your practice, and that was definitely the case with "A History of Pictures" by David Hockney and Martin Gayford," Silvestro tells me. "I was reading that book and came across the quote “... alienation, the way in which, especially in Western Culture, people are separated psychologically and economically both from each other and from the natural world”, and it tied together a bunch of elements from this new work in a more succinct way than I could have come up with."

kerosene and SIRENS review | fortyfivedownstairs

I remember the first time I watched kerosene and being completely engrossed by Izabella Yena and the ferocity and tenderness she brought to her role. Over a year later, I remember the first time I watched SIRENS and sitting in awe as Benjamin Nichol presented a story that was so rich in detail and raw in emotion. Now for the first time, audiences are seeing these critically acclaimed plays as they were intended to be seen: together. While each story is distinct, unique and stands on its own, what ties the two together is the exploration of belonging, environment and disillusionment and how the harsh realities of life can be difficult to overcome.

Nichol and Yena have collaborated extensively on these projects, with Nichol writing kerosene and Yena performing in it and sharing directing responsibilities. SIRENS has been co-created by the two with Nichol also serving as writer and performer (and direction by Olivia Satchell). They are quickly proving themselves to be a formidable duo in the performing arts scene and it is very exciting to see what they come up with next.

Love and loneliness with kerosene and SIRENS

After critically acclaimed seasons of kerosene and SIRENS, independent theatre company The Voice In My Hands is giving Melbourne a second chance of seeing these powerful works with a new double-bill season at fortyfivedownstairs. These one-person shows present rich character and environmental exploration with strong performances by its two actors, Izabella Yenna and Benjamin Nichol.

Both shows are also written by Nichol, who displays an incredible skill in bringing characters so vividly, passionately and frighteningly to life. Both shows have been nominated for a number of Green Room Awards, including a Best Production win for kerosene. We spoke to Yena about returning to the role of Millie for kerosene after two years and how she's changed since the first performance and to Nichol about his creative process in creating a narrative for two similar but very different people and circumstances.

Arterial review

Good circus will always find ways to entertain its audience through the impressive abilities of its performers as they display their strength, flexibility and agility. Amazing circus will have this, but will also be able to make you feel something deeper through its storytelling and performances, and Arterial is one of the best examples of this in a very long time. Presented by Na Djinang Circus, the production explores the notion of what community is and the importance in keeping community alive.

Harley Mann - founder of Na Djinang and director of Arterial - is extremely specific and clear in creating his vision and showing this connection to story, to people and to country. While there is a lot to of ground to cover, everything that we see and hear - and even feel - in Arterial has purpose. The scattered eucalyptus leaves and branches around the stage and the way the lighting design by Gina Gascoigne includes red light illuminating the space are subtle yet constant reminders of the relationship to land being depicted and by extension our relationship with the land we live on.

Grim review | Melbourne International Comedy Festival | Motley Bauhaus

Goodness. What a devilish delight that Grim is. Ellen Grimshaw plays Grim, an alien who gets pushed off their Mum's spaceship on their way to Data Collection Headquarters in Hollywood, landing in a Pepsi ad audition in Carlton. What? Yup. It's extremely ridiculous but if you accept it and move on, you get to really enjoy the performance by Grimshaw, the absurd humour and the chance to consider what the cost of always trying to please people can be.

Grimshaw is superb in this role. She completely gives herself over to Grim with the stuttering voice, the physicality and the outlandish red costume with accompanying wig. The alien language that she creates might sound like a bunch of nonsense but it genuinely feels like she's gone and made a specific noise for its equivalent English word, and whether she has or not is beside the point as it is still works on that level.

Trophy Boys review (Midsumma Festival)

The boys of prestigious private school St. Imperium College are all hyped up and ready to win the Year 12 Inter-school Debating Tournament Grand Final. There is a lot riding on this for all four of them but when they learn the topic up for debate is "That Feminism has Failed Women", an extraordinary can of worms is smashed open. Presented as part of Midsumma Festival, Trophy Boys is a biting social commentary as we witness these students grapple with what feminism is, what women want and sometimes saying that you love women does not make you an ally.

Emmanuelle Mattana has written an impressive story that highlights a number of matters pertaining to feminism, equality and the patriarchy. There are plenty of laughs and absurdity as the boys begin discussing and arguing that feminism has indeed failed women, which includes a few dance interludes and many sweeping statements about loving and believing women. As the story progresses, Mattana's script gradually but suddenly gets quite dark when an accusation of sexual assault is made. Comments made earlier that are now repeated are met with less laughter and more unease as we are confronted with far-reaching revelations.

SIRENS review (Melb Fringe)

Eden is a young gay man in a rural town. He spends most of his time having random hook-ups with older men he meets online. A beachside encounter with a man called David opens up a world of possibilities for him, but at what cost? Presented as part of the Melbourne Fringe Festival, Benjamin Nichols' new play SIRENS, in which he also stars in, is a stirring piece of theatre that speaks of the queer experience and the need we all have to be loved in some way.

Nichols is absolutely phenomenal as Eden. The way he carries Eden's dreams, aspirations and his heartbreak is utterly captivating to watch. His switches to secondary characters are seamless as he instantly takes on their mannerisms and voice. It's difficult to not get emotional from how convincing the bonds between Eden and David and Eden and his mother are displayed and how they develop.

Circonoclasm review

Devised by its second year students, NICA’s Circonoclasm is an exploration of the theft and destruction of the arts through circus. A new artwork is about to be unveiled at the National Gallery of Melbourne. But when it is stolen, everyone become a suspect as the investigators take unconventional, or in some cases too conventional, methods to solve the crime.

Director David Woods has a large cast of performers to play with and that he does, but unfortunately much of Circonoclasm is grounded in acting, sketch and slapstick with not enough satisfying circus. The opening in particular is drawn out far too long as we watch robbers and guards running on and off stage in varying comedic fashion like a montage of Scooby Doo gang as they are chased by (or chasing) the monster.

Benjamin Nichol on his new show "SIRENS" and making noise about the queer experience

Fresh from his critically acclaimed and award winning show kerosene, playwright Benjamin Nichol is returning with a new play for Melbourne Fringe Festival, SIRENS. This queer coming of age story, in a solo performance by Nichol, introduces us to 22 year old rurally isolated Eden who after a chance encounter with a drag queen has a world of possibility and hope open up to him.

The premiere of SIRENS has been a long time coming and with the success of kerosene, Nichol is even keener to finally get some eyes on it. "I’ve been coming back to this again and again for several years now, so to say that I am excited it’s about to be given life would be a significant understatement. kerosene was such a joyful creative process and in many ways I see SIRENS existing within the same theatrical universe," he explains. "It’s a fresh story with a very different character, but it is stylistically comparable and intentionally explores similar themes of obsession, isolation and resilience. My dream is that one day SIRENS and kerosene will be programmed together as a double bill, which was actually our plan for last year's Fringe Festival prior to the lockdown!

Dorr-e Dari: A Poetic Crash Course in the Language of Love review

Dorr-e Dari: A Poetic Crash Course in the Language of Love brings three artists sharing stories of Persian poetry and the multiple forms of love that exist around us. Presented in English and Persian, it's a moving evening with singing, dancing, storytelling and language in which to remember and reminisce through.

There is great rapport between the three performers, Mahdi Mohammadi, Hasiba Ebrahimi and Jawad Yaqoubi, and through this they are able to collectively project this friendliness and kindness to the audience. They recall anecdotes and stories of their childhood and adulthood with warmth and humour, including the consequences of three schoolboys who write a love letter to their classmate.

Scream Star review | Speaker Percussion | Arts House

Worlds collide in Speak Percussion's new collaborative performance, Scream Star, where three artists from around the globe have come together with three pieces of live music that intersect sound, the moving image and percussion. London-based Matthew Shlomowitz, German Johannes Kreidler and New Yorker Jessie Marino present unique compositions that investigate the playfulness and creativity of sound and music exploration.

The opener by Shlomowitz is an imagined variety show called Hey Hey It’s Tuesday. Archival footage of people lining up for shows, on stage, backstage and everything in between is projected onto a screen as the composers play with a number of percussion instruments including cymbals, drums and xylophones. Through this, we discover  ways of how the moving image can interact with new sounds and to appreciate new ways of hearing sound. The segment involving the Kiama Blowhole, the largest in the world, is a particular highlight.