Endings review

There is a familiar smell in the air as I take my seat at Arts House theatre. Even though I can’t quite put my finger on it, it feels like rain on a cold, wet night with mist and fog in the air, which subsequently fits in nicely with the show I am about to see, about death. In Endings, Tamara Saulwick explores our attempts to stay connected with loved ones after they have passed away.

Saulwick explores this concept in a very intimate setting with pre-recorded conversations with people who have lost loved ones as well as opening up about the death of her own father. These recordings and conversations describe not only the moments leading up to the death but the thoughts and actions immediately following. One person mentions photographing the deceased with family members and another recalls the shock of hospital staff at a request to bathe the deceased.

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.

The Last Supper review

Being a leader is not the easiest thing to be. Especially when you are a leader of a mob group or crime syndicate and have to determine who is genuinely looking out for your safety and to constantly second-guess in whom you can put your trust in. In The Last Supper, crime lord Dorian is facing these problems. What follows is an evening of truths being spoken, lies and deception revealed and the extremes that people will go to, to be a leader and claim the power.

Dorian (Gregory Caine) has invited his most inner circle to a meeting, his "trusted" associates and partners. Those invited include his brother Brody (Karl Sarsfield), Madam President, Claudia (Ashley Tardy), the Head of Intelligence, Novak (Kashmir Sinnamon) and the Chief of Police, Vaughan (Christopher Grant). Once Dorian is finished with his interrogations, this may indeed be the last supper for some of them, as failure to perform their jobs results in death. 

Oedipus Schmoedipus review | Post | Arts House

I went to the theatre where theatre is theatred…and it was magical. And deadly. And Bloody. But magical. My thoughts upon exiting Post's Oedipus Schmoedipus. Using death scenes from every major play in classical literature, Zoë Coombs Marr and Mish Grigor take us on a journey of dying that pretty much covers every emotion you can think of, because that's what theatre does to people. Emotions.

It's a bloody and confronting start to the show as Post take a tongue-in-cheek approach to a myriad of gory famous literary deaths to the soundtrack of Rihanna and Eminem's "Love The Way You Lie". There are disturbingly hilarious stabbings, digestion of poison and severing of limbs, but none are more powerful than the first 30 seconds. And that is all I will say on that.

Frame of Mind review | Sydney Dance Company | Southbank Theatre

Sydney Dance Company has returned to Melbourne with Frame of Mind a double bill of extraordinary contemporary dance, featuring the Australian premiere of William Forsythe's Quintett and Artistic Director Rafael Bonachela's Frame of Mind. Although the execution of each work is very different, they both convey the same poignant message about the fleeting nature of life.

The evening began however, with a pre-performance talk with Bonachela and dancers Cass Mortimer Eipper and Chloe Leong. It's always great to hear the thought process that goes into creating any art form, so when the opportunity arises to attend one of these talks, I jump at the chance. It was interesting hearing about the development of the choreography of the pieces; particularly with Frame of Mind and how it grew into the performance we were about to see. Eipper's transition from ballet to contemporary dance and as a choreographer provided an opportunity to learn about some of the challenges that dancers face. The hour flew by and before we knew it, it was show time.