Category: Theatre

Festivals, Theatre, Whats On

Melbourne Fringe 2016: BOMBSHELLS

Impressive performances of women on the verge

By Margaret Wieringa

Down a few side streets in Brunswick in an art space called Wick Studios, ROARE Productions are staging the classic Australian play Bombshells by Joanna Murray-Smith for this year’s Melbourne Fringe Festival. The work is a series of six monologues from women pushed to the edge, and Kaarin Fairfax has directed this group of six young performers to find interesting and different interpretations of the collection of characters

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The show starts strongly with Ruby Swann playing Meryl Louise Davenport, the young mum struggling through the constant, frenetic monologue, judging herself and comparing herself to everyone around her. It’s such a bittersweet, tragic and yet very hilarious piece and Swann balanced the humour and pathos beautifully – in a magnificent white jumpsuit, and literally at the end of her rope.

Next, Ruby Duncan was Tiggy Entwhistle, a recently separated woman who is discussing how succulents changed her life. Duncan’s performance was extremely still and monotonic throughout, which was both a strength and a weakness- it gave the writing a far deeper sense of pain, but at times, missed the humour. Certainly, it was a strong performance from Duncan in an unexpected interpretation of the piece.

The first act finished on Anjelica Angwin’s school talent performance as Mary O’Donnell. We’ve all known these young, extremely self-confident teens who are ready to take on the world of the stage. Perhaps we may have even been her… Angwin captured the arrogance and outrage of the teen performer beautifully. And her dance number was delightful.

Returning from interval we meet Theresa McTerry, portrayed by Emily Riley. Starting on stage dancing in her underwear and drinking champagne, we watch Riley go through a wide variety of emotions as she ends up in a magnificently large wedding dress marrying Ted. As the character became more and more overwhelmed by the day, Riley’s performance became bigger and louder and funnier and more tragic, as needed.

Angie Glavas played Winsome Webster, the button-down widow who has seemingly settled into a pattern that will last the rest of her life. It’s always difficult to have actors play characters so distant in age from themselves, and while it was impossible to ignore that I was watching a young performer, she had a weight to her voice, a pacing and a pitch that conveyed an older character. Glavas was able to do real credit to the humour of the writing with her performance – giving a sense of upright respectability with the occasional naughty wink.

The show ends with a showstopper – travelling Vegas-style singer Zoe Struthers played by Olivia Ramsay. I found this monologue felt somewhat out of place, as all previous five are relatively normal, everyday characters but Struthers is extreme – and Ramsay played it to absolute extreme, with smeared make-up and cartoon-like facial expressions. Possibly some of the potential tragedy of this character may have been lost through the melodrama of the performance, but it also was hindered by some technical issues. Unfortunately during the performance there were several technical cues missed which did slow the flow somewhat, but I am sure that they will be sorted as the season progresses.

There are a lot of choices at Fringe time, but if you are interested in checking out the work of some raw young talent, get yourself to Wick Studios for Bombshells.

Bombshells is playing in Studio A at Wick Studios, 23-25 Leslie St, Brunswick

Monday-Sunday at 7:30 and Sat-Sun Matinees 1:30 September 22-27

Tickets are available through melbournefringe.com.au

Preview $20, Full $25, Conc. $25 Cheap Tuesday $15

Festivals, Theatre, Whats On

Melbourne Fringe 2016: AND THEN THERE WERE NOT AS MANY

A murder-mystery parody for every body

By Myron My

For fans of Agatha Christie or Cluedo, And Then There Were Not As Many is the Melbourne Fringe Festival show for you. Using as many as possible of the murder-mystery tropes at its disposal, the show revolves around a group of strangers invited to a secluded, large, dark manor for a party that they will be dying to leave.

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And Then There Were Not As Many does not take itself seriously at all; in fact, I would put it under the “It’s so bad, it’s good” category. Actors stumble through lines and break character quite a few times but it’s clear they are having a good time on stage and enjoying playing their characters and with each other, so we in turn enjoy watching them crack a smile when they should be shocked.

Written by – and starring – Melbourne comedian Duff, the narrative is very loose and if you focus too much on it, you see more plot holes in the story than in the bullet holes in the body of the murder victim. The humour is very cringe-worthy but again, the actors make it work because they are relishing their lines and the opportunity to have fun with them.

Ben Volchok does a great job as the deadpan butler and Nicky Barry as the socialite with a few secrets (and dead husbands) up her sleeve is a crack up. Rounding out the cast is Sofie Prints, Frank Hampster, Adam Jacobs and Darren Lever, the former playing the bumbling film noir-esque Detective who attempts to solve the murders with the help of his shiny badge.

In a story that manages to reference killer lions, crazy lamas, dead bears and gassed badgers, as well as a handful of murders, And Then There Were Not As Many bring you genuine laughter for some parts and eye-rolling laughter for the others. While this is definitely not everyone’s cup of tea for performance or comedy, it was an overall enjoyable experience.

(NB: Due to the show running 15 minutes later than the schedule time, I was unfortunately forced to miss the denoument to make my next review commitment.)

Venue: Highlander Bar, 11A Highlander Lane, Melbourne
Season: until 24 September | 7.15pm
Length: 60 minutes
Tickets: $23 Full | $18 Conc
Bookings: Melbourne Fringe Festival

Festivals, Theatre, Whats On

Melbourne Fringe 2016: BREATHING CORPSES

Death comes as an end

By Myron My

Breathing Corpses is an award-winning 2005 play by British playwright Laura Wade, and the current production presented by One Little Room as part of the Melbourne Fringe Festival. The play begins with death and ends in death: a circle of death that no one can escape from, and it makes for a very interesting premise.

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The show revolves around seven characters who are all linked by a series of deaths and murders. How they are linked and who dies is cleverly explored in the play, and once the penny drops as to what is actually going on, you begin to see the work as an extremely intelligent and sophisticated offering by Wade.

Despite references to local places, the events in Breathing Corpses could easily have taken place in any contemporary environment or location, so while the effort the cast puts into their English accents is admirable, they are unfortunately not the strongest or most convincing that I’ve heard. For a deeper level of intimacy and connectivity with the material, I feel more time and effort could have been spent on building the keystones of their characters.

Nonetheless, there are some good performances in the show including Jordan Brough as Ray who adds some light comedy to the often serious and dark nature of the show, and Jaq Avery as Amy the maid,who seems to have a run of bad luck with dead bodies. In contrast though, the scene between Kate and Ben (Alice Daly and Stephen Frost) seems disconnected, and the energy between the two actors doesn’t quite match. If anything, I felt the roles required more anger from Daly and for Frost to tone the emotion and shouting down a little and explore other ways to show his character’s rage.

For the most part, the direction by Brenda Addie was thoughtful, but I admit there seemed to be a lot of aimless pacing throughout. There needs to be more overt reason to have these people walking up and down the narrow stage as they speak, beyond just giving them something physical to do.

The set design by Valentina Serebrennikova, while simple, is quite effective, with a row of sharp kitchen knives stabbed into pieces of wood creating the rectangular performance space the characters are trapped within and the various uses of a metallic bench top trolley which are well-executed. The site-specific production’s venue is also appropriate and atmospheric, confined within a cold, near empty warehouse (blankets are provided).

Breathing Corpses is an entertaining piece of theatre that examines our relationships to death and how quickly the end can come for anyone. It’s a great venture for this relatively new theatre company and I look forward with deadly earnest to what they come up with next.

Venue: Candyland, 224 Normanby Ave, Thornbury

Season: until 1 October | Mon – Sat 7.30pm
Length: 80 minutes
Tickets: $35 Full | $30 Conc | $20 Groups 5+

Bookings: Melbourne Fringe Festival

Festivals, Theatre, Whats On

Melbourne Fringe 2016: HEARD OF ELEPHANTS

Ambitious work acknowledges the elephant in the room

By Myron My

Presented as part of the Melbourne Fringe Festival, Heard of Elephants is a musical on elephant conservation that follows a herd of elephants over a year as they face daily threats from nature and man. Further to that, the play explores the intricate relationships these animals share with each other by exploring their strong links to family, mating rituals and traditions within their species.

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The way writer and director Katherine Phelps has humanized elephants with her cast (Alanna Baschera, Victoria Haslam, Karanvir Malhorta, Suhasini Seelin and Harlene Hercules) is surprisingly clever and charming. Their basic movements and simple costumes easily persuade you that they are indeed elephants, provided you allow the magic of theatre to do its work.

The narrative switches between two perspectives: that of the elephants, and that of Chene (James Ao), a conservationist working to keep the elephants safe in their uncertain present. It is here that Heard of Elephants begins to struggle finding a balance between entertaining and educating the audience. Phelps is clearly passionate about conservation and saving the elephants however, in order to make her point, the story unfortunately loses its heart and its engagement with the audience. We spend close to an hour getting to understand how elephants live and the threats that surround them, but the final ten minutes seem chaotic and clumsy as Phelps attempts to cover too much plot too fast.

The stage design, while minimal, is actually quite effective; the scene where the herd is bathing in water, the birthing of Mim and the lighting during the drought are creatively constructed. However, it would benefit the show more if the sound and lighting crew were not positioned at the front of the stage with the cast, as this was often distracting from the actual performance.

While Heard of Elephants has an important message to convey, I feel it needs to rethink the story it wants to share and take its time telling it, so that the audience can truly appreciate what is happening and being said.

Venue: SomaChi Yoga Studio, 15 Belford St, Collingwood
Season: until 2 October | Fri – Sat 7.30pm, Sun 2.30pm
Length: 70 minutes
Tickets: $25 Full | $22.50 Conc / Groups 6+ | $20 Children
Bookings: Melbourne Fringe Festival

Image by Gregg Kerr

Festivals, Theatre, Whats On

Melbourne Fringe 2016: BLIND SPOT

Kidnapping was just the beginning

By Myron My

In 1972, Edwin John Eastwood and Robert Clyde Boland kidnapped six female pupils and their teacher in the rural town of Faraday. They demanded a million-dollar ransom but were later captured when the hostages escaped. Fast forward 34 years later, and Daniel Santangeli‘s immersive theatre performance Blind Spot offers a fresh look at this crime and its related events for Melbourne Fringe Festival 2016.

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Blind Spot is a show for two people at a time (so bookings are absolutely essential) and begins at the end of the story as we work our back to the start. As we play the role of the two men, we are taken through various moments surrounding this event, located in prisons, courtrooms and homes. The less said about the story and the process of the show the better, as the element of surprise and the unknown works best here.

Performers Elizabeth Millington and Kieran Law excel in their roles, playing a myriad of characters with distinct personalities,:from a loving sister or a firm and authoritative prison guard to a bumbling lawyer, there is strong commitment from both. There are numerous moments where how we choose to respond to what’s being presented changes the way a scene is played out, and in return Millington and Law ensure that their characters react appropriately and honestly while sticking to the overall scripted story.

Yvette Turnbull creates an authentic world in the Northcote Town Hall with her set design and the ways in which the space is re-used to create the different environments is masterful. A particular highlight is the conversation during the prison visiting hours via the direct connect phones. The lighting design throughout the show is also executed well, especially during the opening moments, with a sense of unease and vulnerability pulsating in the room.

While there are a number of immersive and interactive experiences throughout this Melbourne Fringe Festival, and all worthy of an audience, what sets Blind Spot apart is that it explores an intriguing piece of Australian crime history that leaves you questioning what drives people to do the things they do.

Venue: Northcote Town Hall, 189 High St, Northcote, 3070
Season: until 1 October | Wed – Sun 5:15pm, 6pm, 6:45pm, 8:15pm, 9pm Sat-Sun also 2:15pm, 3pm, 3:45pm
Length: 60 minutes
Tickets: $30 Full | $25 Conc
Bookings: Melbourne Fringe Festival

Image by Eugene Howard

Review, Theatre, Whats On

UHT Presents MACBETH + MACDEATH: A CODA

They who dared do more

By Narelle Wood

In a year that marks the 400th anniversary of Shakespeare’s death you can’t go far this season without encountering a performance celebrating or commenting in his life’s work. The Union House Theatre present a mostly traditional retelling of Macbeth juxtaposed with a modern, colonialist version through macdeath: a coda.

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Under the artistic direction of Petra Kalive, the traditional section of The Tragedy of Macbeth is performed almost in its entirety, with only small, arguably non-essential lines omitted from the script. The fast pace at which the actors speak means the production has quite a manic pace to it at times and also affords some extra time at the end for the coda. The pacing works, the staging is minimalist so transitions from one scene to another match the speed of the dialogue, with only a few well-crafted pauses along the way. The only downside to this was that sometimes Lady Macbeth’s (Sen Wagaarachchi) lines were delivered with such fervour and haste the character’s linguistic manipulation was lost in a blur of words.

There was some characterisation that didn’t sit well with me. Malcolm (Lachlan Watts) seemed sleazy and entitled; an interpretation of his character that I had not considered before and didn’t particularly like, mostly because there was nothing, even by the character’s own admission, kingly about him. This was not helped by the fact that I found Martin Hoggart’s portrayal of Macbeth to be completely charismatic; for the first time ever I was hoping that things were going to work out for Macbeth, despite his ambitious ways.

Despite my reservations in some of these character interpretations, the acting was great. The Weird Sisters (Bec Riggs, Amy Spurgeon and Liam Bellman Sharpe) epitomised sinister and malevolent, and Georgie Daniels’ (Macduff) was fierce making her character a fair contender for the throne.

The staging (Kalive), lighting (Jacob Trethowan and Brendan McDougall) and soundtrack (Nat Grant and Connor Ross) were genius. The combination of all 3 turned a minimalist black set into something eerie and atmospheric; especially the use of the chairs and sound effects produced by the witches.

Jean Tong’s macdeath: a coda was intriguing but left me feeling a little ambivalent towards what was a very good production. The political message in the coda was poignant and the comparison between Macbeth’s story and more recent historical drew some rather worrying parallels. I couldn’t help but think though that this section deserved to be more than a coda; that either story in its own right deserved to be told and performed in full.

Macbeth + macdeath: a coda is a thought-provoking and intense combination of the traditional and the reinvented Macbeth. It is perhaps not a production for die-hard traditionalists: that been said though, it certainly does raise questions, and propose some answers, about why Shakespeare and The Tragedy of Macbeth is still relevant today.

Venue: Guild Theatre, Union House, University of Melbourne

Season: 16-24 September, 7.30 Wednesday – Saturday, Saturday matinee 3pm

Tickets: $20

Bookings: chook.as/uht/macbeth

Cabaret, Review, Theatre, Whats On

Melbourne Fringe 2016: PINOCCHIO RESTRUNG

Clever and illuminating rethinking of classic tale

By Myron My

We all know the “traditional” tale of Pinocchio: the wooden puppet who just wanted to be a real boy. Created as a grim Italian children’s novel by Collodi, and sanitised for the Disney movie, emerging theatre company A_tistic have cleverly re-imagined this story as part of the 2016 Melbourne Fringe Festival in quite a different way and with some brilliant results.

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A_tistic aim to tell stories that highlight the experiences and create an understanding of autism spectrum disorders so writer and director Tom Middleditch has adapted Pinocchio’s tale as an allegory for a boy with autism who is attempting to become a “real boy”. Middleditch, himself on the autism spectrum, has created a thoughtful intelligent story that not only looks at the anxieties and difficulties people with autism can experience but also those their parents undergo in attempting to understand and accept their child as they are.

Matt Alden as Pinocchio is very comfortable with the character and material, and his mannerisms and body language do well in conveying the thoughts and feelings a person can have with autism. The visual cues of how someone with autism processes information are done simply yet highly effectively, such as when the ‘running puppet’ is deciding upon his name. Similarly, Edan Goodall and Sam Barson are entertaining to watch as Geppetto and Crichton, particularly Goodall as his character tries to find a way to build a relationship with Pinocchio.

The naturalistic costuming that highlights the personalities of these characters is well thought-out, however I feel some subtle creative touches could have benefited the characters of the Blue Fairy (Sophie Jevons) and Fox (Kristiane Burri). The same can be said about the set design and its painted cardboard backdrops. However, due to Middleditch’s strong engaging narrative, the weaker design actually supports the play by allowing our focus to easily remain on the characters without any of our attention wavering.

With Pinocchio Restrung, A_tistic accomplish exactly what they set out to do. With accessibility and inclusivity such an important aspect of the arts, it’s great to see theatre companies putting on works that not only open up discussion on issues people may be less familiar with, but also allows those less often represented to see themselves on stage.

Venue: Metanoia at the Mechanics Institute, 270 Sydey Rd, Brunswick, 3056
Season: until 17 September | Thurs – Sat 6.00pm, Sat 2.00pm
Length: 90 minutes
Tickets: $25 Full | $20 Conc
Bookings: Melbourne Fringe Festival

Image by William Anderson WA Photography

Review, Theatre, Whats On

Redfox 3 Presents THE WOMAN IN BLACK

Plenty to both love and dread in classic ghost tale

By Myron My

I will admit there was some trepidation as I sat down to see Redfox 3 Theatre Company‘s production of Susan Hill’s much loved ghost story The Woman In Black. It was not due to the anticipated horror of the novella-turned-play, but the hopes that the newly established company would be able to tell the tale just as masterfully as it has been told in the West End for over three decades.

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I remember seeing Stephen Mallatratt‘s adaptation of the play for the first time in 2008, and feeling something I have never felt in theatre before; terror and fear. A genuine emotion of unease rippled throughout the audience and the walk home that evening was not a joyous experience. This experience repeated itself upon my second, third and fourth viewing of the play, and it’s fair to say that The Woman In Black is my favourite theatrical performance of all time.

Fortunately, in this local production, director Justin Stephens has maintained the overall apprehension and dread that slowly builds into the story, while also creating some original moments that even had me surprised at how certain events were executed. His direction of the woman in black herself ensures there are palpable “jump in your seat” moments and the relationship he creates between Kieran Tracey and Chris McLean‘s characters feels highly authentic.

Tracey’s switches from the Actor to the younger Arthur Kipps are well defined and he manages to keep the two characters distinct in mannerism and speech. As the story develops and the mystery deepens, Tracey expertly shows how both these men begin to be haunted by their experiences. McLean delivers a convincing effort as present-day Arthur Kipps, however I felt there needed to be a stronger weariness and alertness to him considering all he has endured. McLean’s portrayal of the various townspeople and minor characters were too often played for laughs rather than attempting to keep the serious nature of the story, though this is more a comment on the direction than McLean’s acting.

Set designer Merinda Backway‘s clever use of the space and darkness allows the audience to run off with their imagination. Lighting – or lack of – is imperative to a show like this and lighting designer Callum Robertson does an impeccable job in literally keeping the audience in the pitch dark while being able to see the actors on stage. Unfortunately, the use of the projections in Act 1 felt very much out of place with the rest of the performance and their use seemed to be more to manipulate the audience into feeling scared rather then letting us feel the terror organically. Considering they are never to be seen again in Act 2, perhaps it would even be better to leave them out completely.

Despite the mentioned issues, Redfox 3 Theatre Company has taken on an ambitious gamble in staging this classic book, and this production of The Woman In Black pays off handsomely. This conventional yet highly entertaining ghost story is full of chills and thrills that is bound to have people sleeping with their lights on.

Venue: The Memo, 235 Marrondah Hwy, Healesville, Victoria, 3777
Season: 4 September | Sun 2pm
Tickets: $28 Full | $24 Conc
Bookings: The Memo

Review, Theatre, Whats On

Eddie Perfect’s THE BEAST

Relentless satire and fiercely funny

By Bradley Storer

Eddie Perfect’s The Beast, under the direction of Simon Phillips, has made its return to Melbourne at the Comedy Theatre, and set its sights squarely on the Australian middle class. A vicious and satirical examination of class warfare of this ilk hasn’t been seen since the like of Yasmina Reza’s God of Carnage – be warned, there will be (literal) blood.

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The piece seems particularly suited to a Melbourne audience – the skewering of the affluent and aspirational upper middle class and their conflicts of status anxiety were met with uproarious laughter and applause, with a sense that these people were entirely familiar to those in the crowd.

Alison Bell as the acerbic outsider Marge drew big laughs with her biting wit, and a bone-dry sarcasm that was wielded to maximum effect in every scene. The warmth underneath the barbs was obvious in her interactions with her husband Baird, played by Perfect in addition to writing the text. Perfect touchingly conveys an average man doomed to the eternal ridicule of his pretentious friends while never fully understanding why – the character’s reversal of fortune in a cunning coup later in the piece, while satisfying to watch, feels almost too contrived and convenient to the plot.

Rohan Nichol was astonishingly awful as the smarmy self-appointed ‘leader’ of the male trio Simon, managing to elicit groans with his overbearing sense of entitlement and arrogance, while Christie Whelan Browne as his put-upon wife Gen was the perfect mixture of air-headed sweetness and burning resentment that exploded into some truly hilarious antics during the dinner party scene.

The only weakpoint of the sextet is the third couple – Toby Truslove as the rapidly crumbling Rob manages to find the underlying sweetness and sensitivity of the character but it never fully coalesces into a full characterization beyond the character’s overall oddball escapades and quirks. Heidi Arena as Sue fully commits to her character’s smiling and cheerful hypocrisies but has been directed to play so big that it feels self-consciously artificial to the point of caricature. Peter Houghton ably plays a variety of smaller roles, managed to shift chameleon-like into different characters so diverse that he is almost unrecognizable between them.

While the middle section of the play is wonderfully structured and cleverly written, with a scene involving the slaughter of a cow that had the audience falling out of their seats laughing, the opening scene and the underlying mystery which it wraps around the rest of the piece appears so out of place (and is dealt with so quickly at the conclusion) that it seems almost unnecessary to have them.  Watching these characters scrap and vie for dominion is so entertaining in itself and artfully depicted that I would have gladly watched it all night!

Venue: The Comedy Theatre, 240 Exhibition St, Melbourne VIC 3000

Date: 25th August – 10th September

Times: Wednesday – Saturday 7:30pm, Saturday 2pm, Sunday 1pm & 5pm

Prices: $79.90 – $129.90

Bookings: www.ticketmaster.com.au, Ph: 1300 723 038, at the box office.

Image by Ken Nakanishi

Review, Theatre, Whats On

Q44 Theatre Presents SEX WITH STRANGERS

Writers meet, and the story unfurls

By Myron My

In Laura Eason’s Sex With Strangers, a female novelist meets a male blogger at a bed and breakfast in rural Michigan. She loves books, he prefers ebooks. She likes reading the classics, he prefers living writers. She prefers to keep her private life private, he lives his life on-line. Despite their differences, the two are drawn to each other and are forced to question the choices they’ve made in their lives and the ones they are going to have to make in the future.

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Will Atkinson offers a strong performance as Ethan, finding the right balance of brashness, cockiness and arrogance to his sweet, charismatic and endearing nature. Ethan is the type of guy that many of us despise but secretly want to be, and it’s Atkinson’s work in Sex With Strangers that really has you debating that position.

Atkinson’s pairing with Carissa McAllen as Olivia is a great casting choice and the two play off each other well. McAllen convincingly portrays the uncertainty and insecurities Olivia feels in being judged by the public on her writing; however, there were scenes in which I felt McAllen needed to express her character’s anger and frustrations more deeply than what was displayed on the night I attended.

While the space at Q44 Theatre is on the small side and the set itself is more compact than other productions, directors Gabriella Rose-Carter and Casey-Scott Corless use it to their advantage. They adroitly create an intimate world for Olivia and Ethan, that – while certainly influenced by outside factors – ensures the important moments of their lives are captured within the confines of the four walls.

The set and lighting design by Corless and sound design by Justin Gardam effectively show the differences of the two lifestyles being featured. We witness what feels like a battle between a time when life involved face-to-face interaction and real talent being rewarded, and present-day life with its iPhone obsession and the ability to be famous for being famous.

In the bed and breakfast, there is no television and the Internet has dropped out, wherepon an incredulous Ethan exclaims, “How will I look stuff up?” as he repeatedly checks his phone in vain. The environment here is therefore quiet and calm, just like our initial impressions of Olivia. The transition between scenes occur with a flash of light from an imagined Polaroid camera and the photo developing, often capturing an embrace or a kiss shared before the lights dim and calming music plays as the actors perform a quick costume change or set up the next scene.

By contrast, the second act in Olivia’s Chicago apartment has both characters constantly on their phones or their computers. They are no longer giving each other their undivided attention and it’s this technology that could be the doom for their relationship. The scene changes now occur with thumping club music and a red strobe light, reminiscent of an alarm warning of impending danger.

Q44 Theatre is fast building a reputation for producing a varied repertoire of excellent shows, and Sex With Strangers is another success story. Despite being first performed in 2009, the play still has plenty of relevance in the struggles to find meaningful connections – not only in what we do, but also with each other. In a society where there is a constant cacophony of ringing, buzzing and tapping, making these connections and having these experiences is becoming more difficult, ultimately leaving us wondering what we have missed out on, much like Ethan and Olivia.

Venue: Q44 Theatre, 550 Swan St, Richmond
Season: Until 3 September | Wed- Sat 7:30pm, Sun 6:00p
Tickets: $35 Full | $30 Con
Bookings: Q44 Theatre