Stories that Must be Heard: Truth in the Cage and Limbo review | Melbourne Recital Centre

Presented by Nightingale Performing Arts Australia, Stories That Must Be Heard brings refugee stories to the forefront and gives a voice to those that are too often ignored. The musical double bill of works composed by Chloé Charody shifted seamlessly between emotional intensity and breathtaking physicality, producing performances that are compelling and sobering.

Truth in the Cage is a movingly intimate song cycle tracing Mohammad Ali Maleki’s seven years in detention on Manus Island. Charody uses his poems to create music that is raw, unflinching, and resilient. Through themes of loss, identity, and optimism, the songs provide a searing insight into life under confinement, conveying the anguish and the enduring human spirit of someone who survived years of unjust incarceration.

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.

The Audition review

Working with emerging artists who were also asylum seekers and immigrants, Outer Urban Projects have brought together a mix of writers and actors to explore the process of auditioning through two different lenses. One of these being for performance roles and investigating the power plays that are present between an actor, director and audience, and the other being asylum seekers auditioning to be permitted to live in this country. 

The Audition includes work from seven theatre writers (Christos Tsiolkas, Melissa Reeves, Milad Norouzi, Patricia Cornelius, Sahra Davoudi, Tes Lyssiotis and Wahibe Moussa) that examine the commonalities of these auditions. While not all of these are as powerful or engrossing as they could be due to writing and/or performances, each story highlights various issues pertaining to asylum seekers and immigrants. In one, an Iranian woman (Sahra Davoudi) is reading for the role of Hecuba from Euripides’ The Trojan Women only to have the Australian director (Peter Paltos) force his western interpretation of what a victim should look and act like. Later, these two actors meet again as an immigration officer and an asylum seeker, where Davoudi must once more pass an audition, this time to prove herself to be in need of asylum.

THEM review

Unless you've lived through a war, it would be near impossible to understand the thoughts and feelings of those who have survived one. However, in Samah Sabawi's THEM, the audience is presented with an intimate exploration of five people who are caught in a war zone in the Middle East and the decisions they must make to simply stay alive.

Leila and Omar (Priscilla Doueihy and Abdulrahman Hammoud) are a young married couple with a baby, facing the agonising struggle of either leaving their village to become refugees for potentially the rest of their lives or staying put and seeing what eventuates. Omar's friends, Mohamad and Majid (Reece Vella and Khishraw Jones-Shukoor), each have their own issues to deal with as they plan their own escapes. The arrival of Salma (Claudia Greenstone), Omar's sister, who had made some questionable choices during the war, provides hope and despair for these people, which could ultimately lead to her own undoing.

Never Ending Night - Melbourne Fringe Festival review

For years now, the Earth has been a site of devastation with humans now forced to live underground in various bunkers throughout the world. Cyprus Pod has been home to a community of people for 15 years, and all is as normal as can be until a Messenger arrives with a request for the pod to take on eight more people. With her, she brings three of the eight who are given the task to familiarise themselves with Cyprus Pod and endear themselves to the residents. With limited rations and space, the survivors must decide if they will allow these eight people to stay or turn them away. So begins Never Ending Night, an immersive theatre show presented by Libby Brockman and Russell Sims.

In this show, audience members are permitted to explore the pod and observe and listen to the various conversations happening between the residents, the Messenger and the Messenger’s guests. The nature of an immersive show such as this is that everyone will have a different experience depending on who they follow but the conclusion should provide enough information to put all the pieces of the puzzle together even if they have missed certain scenes. In this instance, I chose to shadow one of the messenger’s guests who tries to charm and manipulate his way into the pod. While initially an interesting character, his scenes and dialogue began to get slightly repetitive with his constant advances towards his female counterpart and in his belief that a place should be made for him because he is young, strong and fertile.

Never Ending Night - Melbourne Fringe Festival preview

Fringe festivals are a time for artists to present new work and ideas and be daring in the theatre that they make. But it also gives a chance for audiences to experience innovative theatre and to step outside of their comfort zone as a passive audience member. Presented by Libby Brockman and Russell Sims as part of this year's Melbourne Fringe Festival, Never Ending Night is an immersive experience in which each audience member determines the journey that they will take.

Performed inside the Collingwood Underground Carpark, audiences enter Cyprus Pod, which has been home to a small community of survivors for 15 years. However, when 8 more newcomers arrive, the survivors must decide if they will accept them or turn them away. For this project, Brockman enlisted three writers, Bridgette Burton, Amelia Newman and Keith Gow, to come on board and help create and guide the story.

"The collaborative process was really exciting, since all our writing styles are quite different," Gow tells me. "I'm working with Bridgette, whose work I have admired for years, and Amelia, who Bridgette has been mentoring, and we established a general concept for the play and then went off and wrote three different stories about life in this one pod. The big question of the play is whether or not this pod of survivors will allow others to come and live with them; they are so comfortable in their lives, they are initially reticent to accept newcomers."

['fraktʃəd] fractured review - Melbourne Fringe

We are now living in a dystopian world of the named and the unnamed. Where safety and comfort are a thing of the past and children are now brought up in a society where the only games they remember are guessing how many bombs are going to go off in the night. Adam J.A. Cass' Fractured, explores this frightening world through five "broken" souls. 

Danelle Wynne is the standout of the cast as Astrid, the almost feral child who is too afraid and suspicious of anyone to let her guard down. Her animal like qualities and habits show how deeply she has been affected by her experiences and are a strong contrast to the rest of the people around her, such as Suzi Loo played by Nicole Morgan. Morgan is also strong in her character and her concluding scenes were completely and utterly engrossing. Rounding out the great cast were Natalie-Lynne Pillar, Josh Vasilev and Amy Firth.