With an artistic skillset that runs the whole gamut of theatre-making, Chris Isaacs is a writer, performer, stage manager, lighting designer, puppeteer and composer. The twenty-nine-year-old local is a plot-driven storyteller exploring what it means to be human. Samuel J. Cox interviews Chris Isaacs.
Stone’s piece is poignant, exposing both the beauty of tragic theatre and the power of the representational. The Wild Duck is one of those plays that make you reflect on the life you live, and feel giddy at the power of the theatre. Ralph Thompson reviews.
I don’t know about you, but whenever I buy groceries I constantly worry about the possibility of a dystopian future where a single company has control over all of our fruit and vegetables. Apparently it also concerns the folks at The Cutting Room Floor, so much so that they took to Paper Mountain on William street to show Fringe-goers a wickedly dark comedy about it: ‘The War on Food’. Caz Stafford reviews.
Receiving a personal invitation to view it is like joining a Skull and Bones sundowner: the logistics and lingo might not make a lot of sense, but you know witnessing it firsthand is a privilege. Zoe Kilbourn reviews.
If you’re looking for something to really sink your teeth into and to leave you breathless, ‘Snake/Bad Adam’ is worth every moment. And you had better not bring your folks along – it’ll just be awkward. Caz Stafford reviews.
"Here, most people are quite welcoming to the fact I do ballet, it’s only guys in suits that seem to have a problem with me. Bikers I meet at the pub, who you might anticipate having the biggest problem, instead congratulate me for doing what I love.” Samuel J. Cox interviews Principal Dancer at the West Australian Ballet, Matthew Lehmann.
These two protagonists are “guests” of a sleep clinic, wearing uniformed striped pajamas and consuming questionable drugs. They reflect a sense of innocence and vulnerability in their failures to overcome their plagued dreams, characterising them as the modern day “Sleeping Beauties”. Review by Gabby Loo.