Assembly Operation review

Our ticket for Speak Percussion's Assembly Operation is a Chinese one Yuan note, but this isn't just for novelty. The program tells us the inspiration for the show comes from the image that is printed on this note, and it allows us an opportunity to see the image and to better understand the show's concept. On it is an image from the West Lake in Hangzhou, which depicts three pools reflecting the moon. A body of water, a bridge and three ceramic stupas (pagodas) are also shown, and it is these items that influences Assembly Operation.

Walking in, we see three rows of tables facing the audience, each row adorned with different items. The one furthest to the back holds three small electronic keyboards whereas the middle one has a variety of traditional looking ceramics and a number of instruments, including drums. The front table is where the three percussionists, Kaylie Melville, Matthias Schack-Arnott and Eugene Ughetti, sit motionless. They are surrounded by crumpled up tissue paper, and knowing what we know about the show, it looks like a sea of water is surrounding them. A recording in Chinese plays through a PA or a megaphone and what its saying is lost on me, but I believe it to be sprouting cultural propaganda. Suddenly it stops, and the three percussionists begin.

Soap review - Melbourne International Comedy Festival

Bath time has never been this fun - and sexy - as with Soap. Direct from Germany, Soap is touring Australia with original and engaging circus acts that will leave audiences with their mouths wide open as they witness the re-interpretation of what circus can be. Presented as part of this year's Melbourne International Comedy Festival, it's definitely a show that should not be missed.

The troupe - Adem Endris, Liudmila Nikolaeva, Lena Ries, Daniel Leo Stern, Mario Espanol and Moritz Haase - are on top of their game with their physically demanding and challenging acts. The acrobatics between Espanol and Haase create a firm highlight, displaying the performers' athleticism and strength, and also being a rare opportunity where I have seen same-sex relationships highlighted in mainstream circus. Nikolaeva has a commanding presence each time she appears on stage, as she executes a variety of tricks with finesse and skill.

Isolation Pod Floating

Entering Gravity Floatation Centre was almost like entering a different world. The waiting area is empty save for some chairs, a glass coffee table and some plants mounted on to the wall. There is some soft, calming music playing and as I wait to be called, and I start feeling nervous at the thought of being in a small pod in utter darkness and silence. Will the anxiety I often experience heighten? Will I have a panic attack in the pod? Will the lid get stuck and not open? I've seen Final Destination; death always finds a way. Before I can let my mind race any further (if that is even possible at this point), I am called. I enter the Endeavour room, all six rooms at the centre are identical, but they are named after 6 NASA space shuttles.

It's a private room with the pod and a shower. Earplugs, body soap, shampoo and towels are provided. The room temperature water and a highly concentrated Epsom salt solution (600kg of magnesium sulphate) are ready for me. The water is filtered and treated after every use and regularly tested by third parties. The pod has two buttons, a blue one to light up the pod in case I prefer it to the darkness, and a red one in case of emergency. I am also provided with a floating neck pillow and a spray bottle of water in case I get any of the Epsom salts in my eyes, which I'm thankful for after absent-mindedly having rubbed my eyes twice.

The Consort of Melbourne: Playing with Fire

In November last year, I attended the National Gallery's Friday Nights event during its Masterpieces from the Hermitage exhibition. As I wandered through the gallery, I came across a choral performance that had me transfixed and extremely eager to hear more. The group was the Consort of Melbourne, a professional vocal ensemble who champion historic and contemporary chamber vocal repertoire. Since that experience, I have eagerly awaited the opportunity to see (and hear) them perform again, and this month they return to the Melbourne Recital Centre with their Local Heroes season.

"We have presented a regular concert series in the Melbourne Recital Centre for many years and we're always excited to return," Artistic Director of the Consort of Melbourne, Steven Hodgson tells me. "Our Local Heroes season has a 'Fire and Water' theme with the first concert, Flames within being a very exciting and dynamic program centred on explosive vocal music by composers Claudio Monteverdi, Carlo Gesualdo and Luca Marenzio."

Fluvial review

It begins with a single chime that resonates through the room. It lingers in the space, bringing a calming, meditative state over the audience, and just as it ends another one begins and another and another.

I can only begin to wonder how composer and performer Matthias Schack-Arnott even began to visualise his installation for Fluvial. It consists of two rows, about five metres long, of various metal, aluminium tubing and glass bottles running parallel to each other. A number of bottles and chimes hang from above with fishing wire, seemingly floating in the air. The pools of water along the rows and the name of the show itself, make this "river of percussion" a sight to behold.