Future Proof review

Every day we are reminded that the world is in a critical state of affairs. It can be immensely disheartening to say the least. However, with Future Proof, Gravity Dolls have found the beauty within the despair in a captivating physical theatre / acrobatics piece that explores what keeps us going, what got us here and what we need to do to ensure that we can remain.



The show opens with the performers - Harlow Casey, Tim Rutty, Karina Schiller, Nina Robertson, Cassia Jamieson and Easa Min-Swe - moving on a revolving circular platform as they each express various "what if" questions around life, death and the world. It's a great introduction to Future Proof, with their brightly coloured outfits by Rutty and Harlow's direction, where we see the gripping chaos of a world colliding with ideas and ideals. This is perfectly executed with the following act that presents as a sales pitch for more plastic in the world with breathtaking design and adept direction as Rutty walks and sits on clouds of plastic bags that envelop the remaining performers.

The Three Graces review

Climate change, gender equality and the role of women in society all come together in Laura Lethlean's The Three Graces. Manifesting as a water fountain that has been turned off, three goddesses come together to voice their distress and opinions of where the world is heading and whether or not it's too late to work towards change. 

Madelaine Nunn, Candace Miles and Anna Rodway play Aglaia, Thalia, and Euphrosyne, collectively known as The Three Graces who were regarded to possess the essence of beauty, charm and grace. The three actors are dressed in various black jumpsuit-like outfits that echo peploi that The Three Graces would have worn, but also suits the characters they play in the contemporary scenes. While the three are adept with the material, the performances sometimes feel too exaggerated with big, expressive movements and dialogue that is awkward and unnatural.

World Problems review | fortyfivedownstairs

Emma Mary Hall remembers a lot. She remembers 9/11 and the first funeral on Mars. She also remembers when George Clooney died and the birthday cakes she's eaten. In World Problems, Hall shares her memories - some factual, some probable, some pure fiction - with us while also expressing what it is like to live in this world and how all our actions are interconnected with something much bigger than us. 

By exposing her vulnerability to the audience through her memories, Hall creates an intimacy that grows with every passing minute. The accomplished way she makes us believe in everything she is saying is testament to the stage presence that Hall possesses. She presents to us as a figure of authority but also as a person having a casual chat with a friend. Her jumping of memories between time and space elicits a very emotional and personal response to a global issue.