Category: Theatre

Festivals, Theatre, Whats On

Melbourne Fringe 2017: THE VAGINA MONOLOGUES

A wonderful balance of comedy, celebration, and poignancy

By Caitlin McGrane

I was feeling very on-brand as I entered the Melbourne Fringe venue for The Vagina Monologues – I was seeing a play about vaginas, carrying a tote bag advertising The Stella Prize, and wearing Birkenstocks – clearly, I was peak-inner north Melbourne target audience for this production. After years of hearing the show derided and ridiculed for its discussion of vaginas, I was curious to see what all the fuss was about, and thoroughly enjoyed the wildly funny Deafferent Theatre production.

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They’re interesting things, vaginas. On the one hand, gender essentialism is problematic and reductive; equating womanhood with anatomy is often used as a way of excluding trans women and non-binary individuals from conversations about gender equity. On the other hand, vaginas and the people who have them, are still often treated as unclean or unmentionable. I was also mindful that the production was performed by deaf (and non-deaf) women, whose experiences often go ignored in mainstream feminist discourse, so I was delighted to see their representation on stage.

The play, if you don’t know it already, is essentially a series of monologues about vaginas – their names, their functions, their appearances, the struggles of having one – all performed by four people in a way that openly celebrates all these aspects unapologetically and with gusto. It’s vital we create dialogues that reduce bodily shame, and Eve Ensler‘s The Vagina Monologues has certainly had a role to play in furthering feminist discourse. The Deafferent Theatre production at the Melbourne Fringe has for me only increased its relevance; because the play is delivered in Auslan with spoken English and English captions, it creates an inclusive space to talk about all things vaginas.

The performers themselves (Livi Beasley, Ilana Charnelle Gelbart, Hilary Fisher-Stewart and Marnie Kerridge – whose names are not listed on the Fringe website, and certainly should be!) create an atmosphere of intimacy through their gestures towards each other and the audience. As the performers drink wine and eat strawberries on stage, the audience feels invited into this space, like they are going to be included in the performance, and indeed we were through gesture, physical mimetic performances of birth, sex and menstruation. Despite not being able to understand the Auslan (and frankly, I was delighted to be excluded, because those of us who don’t speak Auslan shouldn’t be pandered to), I still felt in on most of the jokes, as though I had a seat at the table with the performers, which for me totally eradicated all the misgivings I had about the play’s listing on the Fringe website that we would ‘delve into the depths of womanhood’. The play delved deep into the depths of shame, misinformation and misunderstandings that often surround vaginas, and deftly brought to the fore the importance of understanding and accepting one’s own body, wherever possible.

Not all women have vaginas, and vaginas ≠ women, and Deafferent Theatre and director Jessica Moody’s exceptional production helped celebrate the vagina in a way that was sensitive and powerful.

The Vagina Monologues is showing at Arts House for the Melbourne Fringe Festival 2017 until Saturday 30 September. For tickets and more information go to: https://www.melbournefringe.com.au/event/the-vagina-monologues/

Review, Theatre, Whats On

Malthouse Presents THE REAL AND IMAGINED HISTORY OF THE ELEPHANT MAN

Famous tale powerfully retold

By Jessica Cornish

In a modern world where interesting things continue to be collected and people that are different are still being shunned by society, the heart-breaking historical tale of Joseph Merrick is bought to life in the 2017 season of The Real and Imagined History of The Elephant Man, currently showing at the Malthouse Theatre.

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Joseph is born different into an cold and industrial society that spits him out on to the cruel streets of nineteenth-century London. People flit in and out of his life, and ultimately he finds himself trapped as a patient at a hospital, entertaining aristocrats and posing as an educational tool for doctors. It is at once his saving grace and downfall, whereupon eventually he decides to return to the streets to live a life of a different nature.

Under the adroit direction of Matthew Lutton, the script as written by Tom Wright is heavy and bleak, but remains scattered with moments of comic relief that break through the darkness. The strong cast of five performers (including Paula Arundell, Julie Forsyth, Emma J Hawkins and Sophie Moss) are well-rehearsed and confident and easily draw you into this atmospheric world.

Leading man Daniel Monks gave an incredible performance, showing great strength and vulnerability as Joseph Merrick. The actor himself also did an extraordinary job in convincingly morphing into the physicality of this character across the entire night, including contorting his face for the duration of the performance.

The stage was remarkably bare and stark, with the muted and minimal set design of Marg Horwell, whereupon feelings of isolation, hopelessness and entrapment laid heavy upon the world of Mr Merrick. This was mirrored in the severe lighting design by Paul Jackson that relied heavily on silhouettes and harsh flood lights.  However, this enduring sterility was then complemented by a beautiful delicate soundscape designed and composed by Jethro Woodward that bought an element of tenderness in to the performance.

This was an inspiring reimagining of the famous real-life story, that shows the best and worst of humanity. It asks its audience to connect themselves to his world and to do what his peers struggled to accomplish: recognise the man that is Joseph Merrick, and allow him to simply be.

The Elephant Man will be showing at the Malthouse Theatre from 4-27 August 2017.

Bookings: Malthousetheatre.com.au

Tickets: Standard / $69, Senior / $64, Concession / $49 , Under 30s & Students / $35

AUSLAN INTERPRETED PERFORMANCE: 7.30pm, Thursday 24 August

Image by Zan Wimberley

Performances, Review, Theatre

Arena Theatre Presents TRAPPER

Captivating for all ages

By Leeor Adar

Arena Theatre has given consistently challenging and engaging works of theatre aimed at their 5 to 25 year-old market since their inception in 1966. The theatre company has constantly kept the issues of interest to youth in the present day in their focus, but what is particularly fantastic about Arena is that the appeal of their work goes beyond the specific age groups for whom they create, appeasing teenagers and their parents alike – or just charming your average theatre-goer.

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Their latest creation, Trapper, is a futuristic and visually stunning set created from giant sculptural machines that light up and engage with the performers and their bodies. Designed by co-creator Jolyon James, with sound design and composition by Ania Reynolds and lighting design by Paul Lim (Additive), the stage ebbs and flows with the performers in an extraordinary and exhilarating manner.

From a selection of writings, the performers deliver a series of stories and segments that concern everything from our engagement with technology to the vastness of our capabilities and failings. Under the direction of co-creator of Christian Leavesley, the integration of the ‘trapping’ surrounds integrates so well with the profound topics discussed, and it is the human capacity to continue to exist (despite what we create that can destroy and expand our existence) that forms the underlying theme to Trapper.

Cleverly, the production appeals to its younger audiences as it takes us into the digital everyday life of a teenager – but the wit and whimsy of youth isn’t so far from adult engagement, as we are all reminded of our digital addictions. Once the younger members in the audience are enthralled, the piece continues to ascend to loftier places, with segment by segment asking larger and larger questions, ultimately reaffirming every individual’s place in the chaos of the world around. Thus Trapper artfully touches on an expansive set of topics with humour and poignancy.

Trapper is a thoroughly ambitious project, but Arena and their capable performers (Rachel Perks, Hamish Irvine, Daniel Schlusser and Naomi Rukavina) deliver with total vitality. The season was short, but hopefully this will not be its only one, so when it returns, take along anyone and everyone – Trapper is a journey of delight.

Trapper was performed at the Melbourne Arts Centre from 3-5 August, 2017. For further information about this production and company, visit: http://www.arenatheatre.com.au/

Review, Theatre, Whats On

Little Ones Theatre Presents MERCILESS GODS

Walk into the darkness

By Leeor Adar

Little Ones Theatre manages to make me laugh at the grotesque and alluring once again in Merciless Gods. Whether it’s the description of a hardened criminal unpicking thorns from the tongue of a paedophile or the pungent growth spurt of a teenage boy, beautiful and ugly words cohabit so eloquently at the end of Don Giovannoni’s pen, the result of which is imagined onto the stage with feverish intensity by director Stephen Nicolazzo.

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The scene is set early on as a gathering of hip university-educated 20-somethings pop pills and dive into their samosas before descending into the truly “bad” things they’ve done. A competition of sorts of the varying evils they’ve seen or committed. Merciless Gods is at its core a series of monologues and performances that capture Australia’s foreign identity and the universal identity of being human, even if it’s grotesque and sadistic. There is enormous vulnerability too in this production, as it lays itself bare to hard truths.

Eugyeene Teh’s costume and set design is a perfect mix of minimalist drama. We have red curtains and a catwalk of sorts for a stage to let the intense performances unfold before us. Intense is honestly an understatement, and I found myself really affected and mesmerised by the actors.

Peter Paltos delivered a monologue that really defined the night for me. As the criminal who commits an unforgivable crime in line with the rest of the merciless gods of the night, Paltos manages to describe with such lush expression the pity he experiences, and the violence of his actions. I am certain the audience had their eyes fixed on his sweat, spit and grit with wonder. Another notable series of performances by the mercurial Jennifer Vuletic really heightened the calibre of this production. Vuletic could inhabit the pious tragic figure of a woman speaking broken English and then swoop on stage in naked cruel glory wearing nothing but royal red robes to tear apart her feminist daughter (Brigid Gallacher).

Despite its darkness, there is a great deal of humour in Merciless Gods. Gallacher’s comic timing sent the audience into frequent bouts of laughter, even when she beautifully and breathlessly gazed upon her teenage son with love and disgust. Of course the humour delivered really emerges from Giovannoni’s writing which in its poetic and succinct quality captures what we think but cannot articulate.

Audiences with softer stomachs and a penchant for political correctness may feel queasy at some of the language, so heed this warning. Merciless Gods is unapologetic in its content and brutality and I find it utterly appealing for this reason.

Take time out of your every day and head to the Northcote Town Hall to catch Merciless Gods. The production runs until 5 August. Book your tickets here: http://www.littleonestheatre.com.au/merciless-gods/

Image by Sarah Walker

Review, Theatre, Whats On

The Butterfly Club Presents SALTY

Happily grotesque and gruesome

By Jessica Cornish

A Rolex, a pearl necklace and a bottle of what might be blood – triggering early shock and surprise for the audience set the tone for this promising production. Salty is both a series of three horror-comedy sketches based on Malay- Singaporian mythology, and a good night out in the CBD.

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Salty was created by award winning Melbourne Fringe cabaret artist Shannan Lim, supported by performers Tye Norman and Jayde Harding, and together the trio spin tales of debauchery and terror. Lim in particularly has an amazing ability to flip from moments of the mundane into a fiery physical performance oozing with rage and distress, which was an impressive feat to witness.

The performance cleverly used a series of visual projections to support the changing narrative and pre-recorded voice-overs to build on the characters. The scene transitions were well-executed whereby each change-over itself was turned in to a featured event that was enjoyable to watch. There was even an unexpected dance routine thrown into the mix, which was one of my favourite moments of the evening.

As the show progressed, the three seemingly separate sketches all cleverly weaved into one another, and piece by piece the story slowly falls into place. The ensuing plot-line was absurd and interesting, and there were moments of raw humour that caught audience members satisfyingly off-guard.

However, on the night I attended, there were also moments that seemed to fall quite flat, and there were awkward pauses that left an air of discomfort in the room. Moreover, crude language and strong sexual themes are abundant, so if you’re not into graphic descriptions of dominant men describing their sexual conquests and sexual innuendo, maybe give this one a miss. That said, if you are into the absurd, love a good horror tale, and want to see something pretty quirky, this might be the show for you.

Salty is being performed at The Butterfly Club, Carson Place, CBD every night until Sunday 30th of July at 8:30pm.

Full Price: $32

Concession: $28

Group booking:$25

Phone: 03 9663 8107

Bookings: https://sa2.seatadvisor.com/sabo/servlets/TicketRequest?eventId=100903998&presenter=AUTBCT&venue=&event=&version=

Review, Theatre, Whats On

Red Stitch Presents INCOGNITO

Outstanding

By Myron My

The expression ‘the mind works in mysterious ways’ rings true in the stunning new work by Red Stitch Actors Studio. In its Australian premiere, Nick Payne’s Incognito – a poignant play about the brain, Albert Einstein and love – is a beautiful exploration of how our minds do work and how we use memories to create our identity and become the people we are.

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The story focuses on three non-linear narratives, two of which are centred on real people. Thomas Harvey is the pathologist who conducted the autopsy on Albert Einstein and became obsessed with what could be revealed from research into his brain. The second story based on fact is of Henry Molaison, a 27 year old-man who – after an operation to cure his epilepsy – lost his short-term memory which left him unable to remember the detail of conversations he had been having seconds earlier. The third story meanwhile revolves around a fictitious neuro-psychologist, Martha, who has a somewhat nihilistic view on identity and memories.

Incognito‘s narrative structure can be a puzzle to piece together, but as the story progresses, the relationships and links between characters and scenes gradually becomes apparent. Through the astute direction of Ella Caldwell and Brett Cousins, the pace is fast enough to keep momentum building and have you engrossed in the scenes playing out, but slow enough to ensure you never get left behind. The snap changes from scene to scene are executed perfectly and supported by Tom Willis‘ insightful lighting design.

The cast of four deliver accomplished performances in their portrayal of both the central characters and the eighteen additional ones, with each actor taking on between four to six roles. Ben Prendergast as pathologist Thomas brings forth a nuanced performance and Prendergast’s ability to show Thomas at varying stages of his life are a testament to his skill as an actor. Paul Ashcroft is heart-breakingly marvelous as Henry, as he obliviously remains stuck in an eternal time warp. Guest actor with the company Jing-Xuan Chan is also brilliant as both Henry’s long-suffering wife Margaret and as Lisa, a woman who finds herself in a relationship with Martha, played by Kate Cole. Cole brings to the surface the complexities of Martha’s history and views on life with ease but it is in her  evocative portrayal of Evelyn, the adopted granddaughter of Albert Einstein, where she really shines.

With the scenes that take place spanning various cities and time periods, dialect coach Jean Goodwin ensures that subtle differences are picked up on, and each actor does an incredibly skillful job in their convincing accents and being able to switch between them at the drop of a hat. With the story moving through the years, this achievement is also a great indicator of time passing by and allows us to relocate events in some order.

Chloe Greaves‘ remarkable set design perfectly captures the essence of Payne’s play. A piano rests just off centre-stage, its lid has exploded from its place and hanging in mid air, frozen in time. From inside the piano, black string spills out, reaching the ceiling and walls that results in a spider web-like cave and giving an artistic interpretation of how the brain operates. 

Incognito is an intelligent exploration of the brain, memories and identity: about knowing who you are and in some cases, about not knowing who you are. It may be a play that demands we pay attention, and perhaps ironically, puts our brain into overdrive, but it is also an extremely rewarding experience to be seeing theatre of such a high standard performed locally.

Venue: Red Stitch Actors Theatre, 2 Chapel St, St. Kilda.
Season: Until 13 August | Wed- Sat 8:00pm, Sun 6:30pm
Tickets: $49 Full | $34 Senior | $28 Student | $25 Under 30s

Bookings: Red Stitch Actors Theatre

Image by Theresa Noble Photography

Review, Theatre, Whats On

Don’t Look Away Presents FRANKENSTEIN

Snapshots of modern horror

By Owen James

Don’t Look Away’s modern-day production of Frankenstein presents the classic tale reinterpreted to face issues of tolerance, diversity, sanctuary and acceptance.

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The horror of this Frankenstein comes not from a fictional, gothic world, but from the mirror that this production holds to the horrors of contemporary Western society. We are asked to reflect on our own place in the world, as Frankenstein’s monster desperately tries to find its own.

The stripped-back script by Lally Katz (after Mary Shelly) presents us with every necessary moment for plot development, but no more. Within a tight 65 minutes, the familiar but gargantuan story is totally reinvented for a modern audience, and then thrown at us in a series of fast-paced vignettes of both drama and comedy, with the themes and characters given a welcome priority. Director Phil Rouse ensures these vignettes are seamlessly connected, finding the thematic flow between sharp bubbles of action and moments of heightened dramatic tension.

The choice of Chantelle Jamieson as The Creation is a compelling and powerful one, her gender and ethnicity intrinsically linked to the thematic content of both the play and the character. She presents a Creature not unlike a possible young woman of today – lost in a confusing world without guidance – and draws every bit of intertextuality out of the text possible, ensuring the audience is left both uncomfortable and amused. With mesmerising stage presence in every scene, it is unmistakably her journey we are following.

The titular Victor himself is presented through an incredibly physical performance by Michael McStay. This Victor is not an arrogant scientist but a man as lost and confused as his own creation. Although presenting levels of both eye-opening physicality and balanced subtlety, McStay’s dramatic side could not always match his natural affinity for comedy.

Their performances are joined with beautifully timed assistance from Martin Quinn as the onstage assistant. Some of the best comedic moments came from the presence of Quinn’s movement or assistance onstage, and I would almost love to have seen more from this quirky addition.

The bold and inventive sound design by Neil McLean creates the perfect atmosphere, and also adds to the comedy of the piece with the synthetic texture of pulsing 80’s beats. Lighting by Richard Whitehouse is evocative and resourceful, matched by sets and costumes by Martelle Hunt, which are simple but incredibly effective.

When exposed and stripped back, the themes and characters of Frankenstein are hauntingly relevant to modern issues prevalent worldwide. The uncompromising sharp wit of Don’t Look Away’s tight production ensures these themes will continue to turn around in your mind long after you leave the theatre. Ultimately we are faced with a question of acceptance, and a challenge to embrace the ignored.

Frankenstein runs at TheatreWorks in St Kilda until July 29, tickets through theatreworks.org.au

Image by Sarah Walker

Review, Theatre, Whats On

Boyslikeme Presents NEXT FALL

Fine performances in fragile love story

By Myron My

Being in love is never easy. Geoffrey Naufft’s Next Fall tells the story of Adam and Luke, a gay couple who begin a relationship spawning five years before tragedy strikes when Luke is hit by a car. Opening with Luke’s friends, family and Adam gathering at a hospital waiting room to hear news on his outcome, the story flashes back to various moments in the lives of both Adam and Luke and those closest to them.

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Each flashback builds on 40-year-old Adam’s (Darrin Redgate) frustration over where his life is heading, and Luke’s (Mark Davis) attempts to reconcile his sexuality with his Christian faith. Redgate does a capable job as the neurotic candle-seller who seems to be subconsciously attempting to self-sabotage his chances at ever finding happiness, even when it’s staring at him right in the face. Davis evokes a naive self-assuredness in Luke with regards to his dogmatic beliefs, but he is also able to bring out a warmth and kindness to him as his relationship with Adam grows.

Kaarin Fairfax simultaneously brings fragility and strength to Arlene, Luke’s mother. A touching scene between her and Adam displays Fairfax’s ability to convey the deep emotions her character is feeling without resorting to overt dramatics. Sharon Davis as Holly delivers a solid performance as the supportive friend for both Adam and Luke, with her subtle comedic timing allowing us to momentarily forget the impending tragedy.

Unfortunately I felt Paul Robertson‘s performance as Luke’s homophobic father Butch needed further development in allowing us to understand the nuances of the character. Throughout the story Luke has an intense fear of his father finding out about his sexuality – and yet nothing eventuates from this, even when Butch comes across Adam and Luke during a moment of intimacy, which I found very unsatisfying. Similarly, the character of Brandon (James Biasetto) in this production feels more like an outsider looking in and even during his flashback scene with Adam, Brandon doesn’t reveal anything to the audience that we are not already aware of.

Peter Blackburn takes care in his direction to not rush the story and otherwise allows the characters and their relationships time to develop organically. The set design by James Lew is interesting in that it suggests that the past and present are inextricably linked, however the set changes where an actor appears in the waiting room for a few seconds for no other purpose than to give time for the crew to prepare the stage for the next scene feel very much like filler rather than substance.

While religion and getting old are major themes explored in Next Fall, it is ultimately a touching love story between two people. As such, Naufft’s script may be a formulaic play with no real surprises, but the dedicated performances from this cast are what turn this production into a story worth sharing.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Season: until 30 July | Wed – Sat 8:00pm, Sun 5:00pm
Tickets: $39.50 Full | $29.50 Conc
Bookings: Chapel Off Chapel

Review, Theatre, Whats On

MTC Presents NOISES OFF

Superb production of an hilarious classic

By Myron My

It’s been 34 years since playwright Michael Frayn penned his farcical comedy Noises Off and I have patiently waited decades to see this production on the stage. As part of its 2017 season, Melbourne Theatre Company has fulfilled my wish and the production does not disappoint with this wild and witty play-within-a-play.

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While this is a fast-paced farce, one of the strengths of Frayn’s script is that we are still provided with time to get to know the characters and understand the relationships between them all. Once these are established, the laughs begin to build until the absurd and ridiculous circumstances the cast get themselves into hit peak hilarity. The second act where we are privy to the goings on behind the scenes offers the most entertaining moments of the show, as the actors struggle to separate the drama of their personal lives with the drama happening on stage.

The hugely talented ensemble of this production deliver superb performances and there is an energetic chemistry between them all. Ray Chong Nee as the pompous Gary has brilliant timing and literally throws himself into his character. As one of the more “straight” characters, Nicki Wendt as Belinda still captures our attention in all her scenes. Louise Siversen as Dotty is sensational and fully embraces the wackiness of both characters she plays.

Meanwhile, Libby Munro as Brooke is delightful to watch as the actor who will not go off script no matter what, as is Hugh Parker as the sensitive but consummate thespian Freddie. Steven Tandy as Selsdon is great comedy relief as he exasperates the cast with his tendency for drinking on the job.

Simon Burke as Lloyd the director of sex farce Nothing On – the play-within-a-play – finds a serenity and calm in the character who yet simultaneously speaks through gritted teeth to his frustratingly inept cast. James Saunders and Emily Goddard as stage managers Tim and Poppy bring some hilarious moments as they try to keep everything on track despite the mishaps along the way.

Sam Strong’s attentive and considerate direction in the real world ensures that despite all the relationships being portrayed (in Noises Off and Nothing On), we never feel overwhelmed or confused by what we are seeing. While there are moments that seem to stretch themselves for laughs, such as the axe-fight scene and watching each actor constantly sneak across backstage to avoid being spotted by the audience, he manages to keep those laughs consistent and plentiful.

Set designer Richard Roberts has done a truly marvelous job in creating the two-storey interior of the Brents’ house as well as the backstage area. The detailing in both, particularly the backstage area, is well thought-out and the rotating stage is highly impressive and used effectively.

While Nothing On is an absolute shambles of a show (but one I would still like to see), Noises Off is a slick production of the (in)famous play with a cast and creative team that has clearly put in much effort and thought into its creation. Melbourne Theatre Company presents a guaranteed crowd-pleaser with this, and rightfully so.

Venue: Arts Centre Melbourne, 100 St Kilda Road, Melbourne, 3004 
Season: Until 12 August | Mon – Tues 6.30pm, Wed 1pm, Wed-Fri 8pm, Sat 4pm and 8.30pm 
Tickets: $39 – 99
Bookings: Melbourne Theatre Company

Image by Stephen Henry

Review, Theatre, Whats On

Malthouse Theatre Presents REVOLT. SHE SAID. REVOLT AGAIN.

Tear down the wor(l)d

By Leeor Adar

Alice Birch’s Revolt. She Said. Revolt Again. directed by Janice Muller is a perpetual play on words, and a play on what those words mean to us. It isn’t just a revolution within our society, but a collective ‘revolt’ at our own bodies, and at the male gaze for which women squirm under. Yes, it’s a raging, raging work. It probably needs to rage, because what Birch tells us is nothing new to a woman’s struggle within the constraints of her world, the sharp lines that fix her within it – whether that is her workplace, her lover’s place, her child’s place – or any place in which she exists.

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Birch’s text takes us to many dimensions of existence – at first it’s the constructed box that sits on the stage, vignettes of conversations that throw sex, marriage and work upon its head – women asking to be utterly present in the acts society inflicts upon them. Marg Horwell’s set design is effective here, the sound even strains within the ‘four’ walls created. Soon enough, this world revolts upon itself and a woman (Sophie Ross) climbs out of the four walls to really talk about the things we don’t talk about – about the damage women inflict upon our bodies, in a beautiful and hideous memorandum of all our physical evils – to be endlessly sexually available.

For all the seriousness of the work, the audience laughs with tears in their eyes at some scenes, and sometimes we flinched away – we couldn’t look upon what was before us. I sat behind male audience members who I confess I enjoyed watching too throughout the piece; in context, I admit I was morbidly fascinated at how they would react. Of course they laughed when it was appropriate, and sometimes when it was totally inappropriate, because on some level it was surely uncomfortable for male viewers to see a woman getting angry or opening her body up with Birch’s visceral words – but I can tell you that looking around the room at the women was an different story. Many moments of the play were a bitter reminder, unravelling us at the seams.

The cast is five-strong (Belinda McClory, Elizabeth Esguerra, Ming-Zhu Hii, Gareth Reeves, and Ross). Each actor delivered their parts with total abandonment and intensity – it is an absolutely demanding show to watch, but also to act. The words are hard, and they’re almost too funny and also too damn real. You know Birch is onto something good when you physically react to the words.

For all its power, the total breakdown of the world presented to us loses shape as characters throw costumes on, haphazardly run about, throw themselves on stage, shake, spit, shiver, deliver – it ceases to be a functional whole. Oddly enough, the work held its power until the final dimension and then disintegrated. Was it meant to show us how bad we really had it – apocalypse femme? I can’t say. But sometimes in an effort to rattle its audience, the hyper-modern piece loses us.

Did it change my outrage, or the message? No. Revolt. She Said. Revolt Again. remains a daring exercise to deconstruct everything that shapes womanhood in a violent world.

Revolt. She Said. Revolt Again. will be performed at the Malthouse Theatre until 9 July. Performance dates, times and bookings available here: http://malthousetheatre.com.au/whats-on/revolt-she-said-revolt-again

Image by Pia Johnson