A STELLAR LINE-UP - Olympic Edition

 

Dance4Me in action.

Produced and Directed by Liz Lea

Belconnen Arts Centre – 22^nd and 23^rd November 2024

Performance on November 22^nd reviewed by BILL STEPHENS.

The fresh Funk team in action.

Canberra is rich in dance activity. Local professional dance companies and highly regarded dance schools offer pathways for those aspiring to a professional dance career.

The annual Ausdance Youth Dance Festivals offer opportunities for school and college students to discover the excitement of performing in the Canberra Theatre under the same conditions as major dance companies both national and international, while QL2 Dance has a focus on nurturing aspiring dance makers.

For those wishing to hone their dance skills without necessarily embarking on a professional career, there are several local musical theatre companies producing high quality productions of popular musicals happy to embrace those ambitions.

There is a lesser-known genre of community dance organisations devoted to exploring the transformative power of dance in all its many forms including well-being and self-expression as well as a pathway to intercultural and intergenerational inclusiveness.

It is this genre of dance that has attracted the attention of the indefatigable Liz Lea, an acclaimed professional dancer who devotes her considerable talents each year into producing and directing the Stellar Lineup at the Belconnen Arts Centre to showcase its practitioners.

Among the groups being showcased in this year’s Stellar Lineup, sub-titled Olympic Edition, were Project Dust.  an emerging First Nations dance group, Dance4me, Taylor Mingle Dancers, ZEST Dance for Wellbeing, the GOLD Company, Deaf Butterflies, Fresh Funk and the Chamaeleon Collective.

With her directorial hat firmly in place and inspired by this year’s Paris Olympics, Lea cleverly wove the efforts of this disparate collection of participants into a cohesive pageant about the achievements of athletes participating in the Paralympics over the years, with particular emphasis on Paralympians from the ACT region.

Dispensing with a Master of Ceremonies in favour of a continuous giant video screen presentation featuring item titles, archival film, photographs and ambiance images, the program commenced with a spectacular massed acknowledgement of country led by Project Dust, an emerging First Nations dance group.

Chamaeleon Collective performing "Ballgames".

Chamaeleon Collective got the ball rolling (so to speak) with a playful piece entitled “Ballgames” which explored the numerous events which utilise balls.   

 ZEST Dance for Wellbeing drew on the Olympic Circles for their graceful presentation, seated on chairs arranged in two circles and performed to the theme from “Chariots of Fire”. 

  

ZEST Dance for Wellbeing performing "Chariots of Fire"

Dressed in white the Chamaeleon Collective and Deaf Butterflies performed representations of other sports while the GOLDS after entering to the sublime music of the duet from the opera “Lakme” reduced the audience to giggles with their cheeky performance of “The Ball is in Your Court”.

GOLD Company performing "The Ball is in Your Court"

Interspersed among the group presentations were several tributes to local Paralympians, the most recent of whom was legally blind cyclist Lindy Hou.

A film presentation outlined the amazing sporting career of Paralympian, Daphne Hilton who commenced her career by winning 6 of the 10 medals won by the Australian Paralympic team at the 1960 Olympics in Rome.   Her daughter Rachel delighted the audience by taking a bow on her mother’s behalf.

Rachael Hilton in a tribute to the mother Paralympian, Daphne Hilton.

Another highlight was the surprise appearance of Commonwealth Games Gold Medallist and Athletics’ Australia Female Athlete with a Disability of the Year in 2009 – 2010, Louise Ellery, who, following an inspiring video of her speech at the 2016 Rio Paralympics, received an enthusiastic ovation from the audience when she too took the stage.

Paralympian Louise Ellery accepts an audience ovation.

But this was a night of highlights, and given the varying abilities of the participants, the emphasis was on participation and inclusion, even so the Taylor Mingle Dancers, a team of nine  burly Sikhs, each wearing a brightly coloured turban, led by two demure women, one of whom was Lea herself an acknowledged expert exponent of Indian dance, and the Fresh Funk Team with its dazzling, meticulously drilled break dancing ,were stand-outs in a fascinating program.

Liz Lea takes a  bow.

Under the guidance of Liz Lea, who not only produced and directed the show but could be spotted performing with the Taylor Mingals, the Chamaeleon Collective and Project Dust, the 2024 Stella Line-up proved a heart-warming exposition of the diversity of community dance activity in the ACT and the enthusiasm, resilience and inclusiveness of those who participate in it.

If you weren’t there this year, watch out for it in 2025. It is one of the more unique and inspiring highlights of the Canberra Dance calendar. 

                                           All images by O & J Wikner Photography.    

Eurydice - Mill Theatre

 

Eurydice by Sarah Ruhl (world premiere at Madison Repertory Theatre, Madison, Wisconsin, September 2003; Off-Broadway at Second Stage Theater, 2007).
Retells the myth of Orpheus from the perspective of Eurydice, his wife.
https://en.wikipedia.org/wiki/Eurydice_(Ruhl_play)  
 
Lexi Sekuless Productions at Mill Theatre, Dairy Road, Canberra. November 20 – December 14, 2024.

Reviewed by Frank McKone
Opening Night November 27


Cast
Eurydice: Alana Denham-Preston; Orpheus: Blue Hyslop
Her Father: Timmy Sekuless;
A Nasty Interesting Man/The Lord of the Underworld: Michael Cooper
A Chorus of Stones: Heidi Silberman, Sarah Hull, Sarah Nathan-Truesdale

Contingency: Rhys Hekimian, Michelle Norris

Production Team
Writer: Sarah Ruhl        Director: Amy Kowalczuk
Movement Director: Michelle Norris; Costume Designer: Leah Ridley
Set Design and Construction: Simon Grist; Scenic Painting: Letitia Stewart
Lighting Designer: Jennifer Wright

Guitar, Vocalist and Arranger: Eleanna Stavrianoudaki with sound effects licensed via Artlist.

Production Stage Manager: Lexi Sekuless
Production team support: Mark Lee, Andrew Snell, Zeke Chalmers, Jaben Leadbetter
Photographer: Daniel Abroguena

Producer: Lexi Sekuless Productions        Major partner: Elite Event Technology

Principal Sponsor: Willard Public Affairs
Eurydice is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.
The navy curtain installed for this show is known as the Kershaw Curtain.
Carla Bruni wedding song licensed by APRA
__________________________________________________________________________________

In a world in which privacy has become such a big issue, I felt quite embarrassed, in the tiny Mill Theatre, watching almost within touching distance Eurydice and Orpheus enjoying such physical intimacy, in casual clothing prior to their more formal wear for their wedding.

Bringing an ancient Greek story into our personal experience is the point of the play, so we can accept the theatrical illusion of the two worlds – Life and Death – as reality for Eurydice, her father and her husband.  

The directing of the acting and movement, in the context of a simple yet ingenious set design on two levels, and with lighting and sound cues as the action shifts from one to the other, is highly successful.  

The choreography for the three women in the dead world – who are like the Furies would be in the living world, except that here they are the Stones enforcing the rules about what is not allowed – is especially well done.  I’ve met some people in my real world very much like them!  

As a comparison and contrast with Blue Hyslop’s genuine musical Orpheus, Michael Cooper’s mealy-mouthed manipulative controlling Nasty Interesting Man is awful to see. Alana Denham-Preston’s Eurydice is fearfully trapped, and escapes only to her death.  We see stories like this daily on the news.

So this production of Eurydice is highly recommmended, not only for the quality of its performance, but also for the choice of an interesting and important take on the ancient Greek story of the man’s frustration – when he sadly cannot look back – now seen from the woman’s point of view, when she desperately cannot call him back.  

Conventionally it’s a sad love story, but Sarah Ruhl’s version makes it a deeper consideration of life as a tragedy for love when one partner is suddenly dead.  In the modern world (and I guess equally in the Ancient Greek world), death is even more tragic when it is deliberately dealt out by other people.

After seeing Eurydice, to follow up the Ancient Greece connection, you should read the three novels by Pat Barker.  In The Trojan Women, The Silence of the Girls and The Voyage Home, seeing Greek history/myth from the women’s point of view is essential reading on sexual and political relations in Western culture to build on Sarah Ruhl’s dramatic work.

Not to be missed.

Blue Hyslop and Alana Denham-Preston
as Orpheus and Eurydice
Mill Theatre 2024

 

Timmy Sekuless and Alana Denham-Preston
as Her Father and Eurydice facing The Stones
Mill Theatre 2024

 

Heidi Silberman, Sarah Hull, Sarah Nathan-Truesdale (not necessarily L-R)
as The Stones
Mill Theatre 2024

 

EURYDICE

 

Eurydice by Sarah Ruhl.

Directed by Amy Kowalczuk. Movement Director Michelle Norris. Set design and construction by Simon Grist. Costume Designer: Leah Ridley. Lighting design Jennifer Wright.Vocalist Eleanna Stavnanoudaki with sound effects from Artlist. Production stage manager Lexi Sekuless. Photographer Daniel Abroguena.  Cast Alana Denham-Preston. Blue Hyslop, Timmy Sekuless, Michael Cooper, Heidi Silberman,Sarah Hull and Sarah Nathan-Truesdale. Produced by Lexi Sekuless Productions.  Major Partner Elite Event Technology. Principal Sponsor Willard Public Affairs. The Mill Theatre. Dairy Road Precinct. November 27-December14

Bookings:https://ticketing.humanitix.com/tours/theatre-at-dairy-road

Reviewed by Peter Wilkins

 

Blue Hyslop as Orpheus

Alana Denham-Preston as Eurydice

in Sarah Ruhl's Eurydice

Playwright Sarah Ruhl has reimagined the timeless Greek myth of Orpheus and Eurydice as a contemporary tale of love, loss and grief in Amy Kowalczuk’s flawless staging of Eurydice at The Mill Theatre. What is different in Ruhl’s version is the meeting of Eurydice and her dead father in the Underworld, ruled over by the sinister Lord of the Underworld (a chillingly evil performance by Michael Cooper) Ruhl has dedicated her play to her late father, and the relationship between a daughter and her father is a central motif in a play in which the personal and the mythical merge. Kowalczuk with movement director Michelle Norris creates a drama so visceral, lurching an ancient myth into the realm of our own experience. It is impossible not to be moved and at the same time galvanized by every moment of Ruhl’s deeply personal connection to the loss of a deep love.

Michael Cooper as Lord of the Underworld

The tragedy of young love destroyed is achingly palpable in the intimacy of the Mill Theatre. We enter into a scene of joyous young love between Orpheus (Blue Hyslop) and Eurydice (Alana Denham- Preston). The sheer rapture of musician Orpheus and bookworm Eurydice is beautifully played by Hyslop and Denham-Preston. The promise of a wonderful life together is captured in their innocent devotion and shattered by the fateful intervention of the serpent –like Nasty Interesting Man, played by Cooper (Women beware the interesting man with the snakish charm!) A gasp from an audience member is heard as Eurydice falls from Simon Grist’s sombre and elevated set into the arms of the Underworld populated by her father and a Chorus of Stones (Sarah Hull, Heidi Silberman and Sarah Nathan-Truesdale). Classic myth and contemporary envisioning merge in Ruhl’s drama that is part love story, part thriller, part psychological drama and thoroughly engrossing.



Sarah Ruhl in an interview states that she likes a play to sneak up on you. Kowalczuk with Norris, lighting designer Jennifer Wright, Artlist sound effects and vocalist Eleanna Stavnanoudaki fill every moment of Leki Sekuless’s production with astonishment, surprising an audience not only with the twists and turns of the plot but with production elements that infuse the drama with contemporary insight into the ancient wisdom of Greek civilization, its myths and its culture.

Sarah Hull, Sarah Nathan-Truesdale and Heidi Silberman

 

Kowalczuk’s casting is impeccable. An ensemble of perfectly cast actors create 60 minutes of riveting theatre. Tim Sekuless’s father is plaintively moving, a lost soul condemned too soon to the vales of the underworld. Ruhl’s grief at the loss of her father is potently captured in Sekuless and Denham-Preston’s powerful portrayal of the love of Eurydice and her father. As the Lord of the Underworld’s creatures, the three Chorus of Stone women are a dehumanized reminder of the destitute loss of humanity devoid of heart, soul and feeling.

Tim Sekuless as the Father. Alana Denham-Preston as Eurydice

Ruhl’s play, though written from Eurydice’s perspective following her banishment to Hades is no feminist tract on empowerment. It does diminish Orpheus’s role in Ruhl’s imagining and introduce a gentle and loving father to contrast with the coercive Lord of the Underworld Director Kowalczuk while observing Eurydice’s central significance in the drama has remained true to Ruhl’s observance that she has written a tale of love. Eurydice attests to her female identity but she and the Chorus of Stones remain subservient to the lord. What Ruhl and this flawless Mill Theatre production achieve is catharsis by which we are able to reflect on the true values of life, love and humanity.

If you see no other theatre before the end of the year, do not miss Eurydice. It is another example of the finest quality theatre that is being produced in Canberra.

“BEING PRESENT” and Perform Eight ACTs

Exhibition Review: Visual Art | Brian Rope

“BEING PRESENT” and Perform Eight ACTs | COOPER+SPOWART

Wangaratta Performing Arts Centre Foyer Gallery | 29 August – 4 December 2024

Being Present is the title of a conceptual and creative artists’ book by COOPER+SPOWART (Victoria Cooper + Doug Spowart). It comprises eight individual folios (or ACTs) in smaller foldout books. The book is displayed beautifully in the foyer of the Wangaratta Performing Arts Centre (WPAC) where it can be seen by everyone who passes through when attending art performances in the Centre, or anyone else who goes into that space. However, what is displayed is not what you would expect. It is actually eight framed works. 

Where, you might ask, is the book? Well, it is a WPAC requirement that only framed works be shown due to the complexity of presenting off-the-wall art in that public foyer. As COOPER+SPOWART’s medium is artists books and photobooks with wall art to support them, they produced a mechanism whereby they could show an artists’ book in a very different way.

Being Present gallery Installation

On didactic panels with the artworks are QR codes. Scan them with your phone camera and links take you to high-definition videos on the artists’ YouTube channel. Appropriately for a performing arts venue, each video is a performance of a particular ACT. Each ACT has a title. For example, ACT 5 is Mt Buffalo.

Act 5 Mt Buffalo

The book was printed by the artists using pigment inks on Epson Velvet Fine Art Paper and Zerkall printmaking papers and bound in Stonehenge covers, with Kozo Kawairi interleaved papers and waxed linen thread. The quality is superb. The individual foldout books were each resolved, printed and bound by the artists in their studio. They are stunning. The marvellous clamshell box holding the eight ACTs, plus Introduction and Epilogue? Made by Spowart. Every carefully made element of this artwork is beautiful.

Being Present book+clamshell

In addition to clever photography, there are excellent words – poetry if you prefer. “Where vibrations touch our minds.” Not only do these words speak deliciously, but they are also positioned appropriately over the imagery - yet another reason this project spoke to me of fulfilled art. Their abilities in their chosen art mediums enables these artists to reach many people.

Angophora Grove Walk parts 1–4-vert

These accomplished artists say, “the performance and creation of the eight ACTS has set the stage for future visual books to share, through the haptics of reading and visual metaphors, a deep connection with narratives of place.” I, for one, look forward to their next books. As they say at the end of an article on their artists’ blog, WATCH THIS SPACE….

My wife and I were most fortunate to explore this exhibition in the company of the artists. Not only were we able to discuss particular works and ask questions about their approach, but we also had the opportunity to sit with the physical boxed book and turn every page of each ACT in the presence of the artists, talking with them about the artwork and their processes. Commitment to, and love for, their creative practice is clear from speaking with them as well as from closely examining the high quality of all they have created for this particular project.

The haptics of reading Being Present

As we turned the pages, we saw smaller pages overlaid (using hand-stitching) on each full-size double page spread. The smaller pages also opened to reveal further imagery and words. Landscapes photographed by one of Cooper or Spowart are overlaid by photos of the same landscape taken by the other artist but including their partner taking the straight landscape shots.

If you are not able to visit the venue to see the exhibition before it closes, I urge you to explore everything on the artists’ blog here. In fact, even if you do visit the show, I am certain you will very much enjoy the blog piece and all the YouTube videos for which links are provided.

This review is also available on the author's blog here.

BLOODY MURDER

Written by Ed Sala

Directed by Josh Wiseman

Canberra REP production

Canberra REP Theatre Acton to December 7

 

Reviewed by Len Power 22 November 2024

One of the reasons murder mysteries are so popular with audiences, is that they follow certain conventions. There is usually a murder at a remote location, followed swiftly by a second murder. The remaining recognizable character types then start suspecting each other until a surprising finale when all is revealed.

However, in Ed Sala’s play, those characters suddenly decide that they have had enough of playing variations on the same characters in conventional murder mystery storylines and rebel against the writer.

Where it goes from there, I won’t reveal, but your expectations will be turned upside down in this clever, entertaining and head-spinning comedy.

Antonia Kitzel plays the formidable Lady Somerset. Glenn Brighenti is her nephew Charles, who will inherit the Somerset fortune if she dies. Arran McKenna is the boring old Major, barking loudly about his past war experiences. Holly Ross is the fragile and innocent Emma Reese and Stuart Roberts is the alcoholic, once famous actor. Steph Roberts is the saucy and slovenly maid, Jane.

From left: Holly Ross (as Emma Reese), Stuart Roberts (as Devon Tremaine), Arran McKenna (as The Major) and Antonia Kitzel (as Lady Somerset)

Then there is the Countess In Red, a mysterious Mr Who, Chief Inspector Phelps, a passing Motorist asking for help, the weirdly foreign El Gato and a late-night Nun collecting for charity.

This strong cast of six bring these clichéd characters vividly to life. There is no hint of satire in their playing, making them much funnier. Everyone displays a fine sense of comic timing, making every line count as the plot moves at a furious speed.

Considerable thought has gone into the effective design of the set by the director and the delightfully apt costume designs by Suzan Cooper. Lighting by Nathan Sciberras and Sound by Neville Pye are crucial elements of the plot requiring razor-sharp operations by both crews. It all worked perfectly on the opening night.

Director, Josh Wiseman, has brought every element of this smart play skilfully together. Canberra REP usually present a fun and enjoyable end of year show. This very funny play and its highly effective production make this one of the most memorable.

 

Photo by Victoria Tyrrell Dixon

 

This review was first published by Canberra CityNews digital edition on 23 November 2024.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

 

  

BLOODY MURDER

 

Bloody Murder by Ed Sala.

Directed and designed by Josh Wiseman. Costume designer Suzan Cooper. Lighting Designer Nathan Sciberras. Sound designer Neville Pye.  Canberra Rep. November 21 – December 7. Bookings 62571950 or www.canberrarep.org.au

Reviewed by Peter Wilkins

Canberra Rep’s final play for the year Bloody Murder is meant to be a barrel of Yuletide laughs, something familiar, something peculiar, something for everyone a comedy tonight. Nothing too serious, nothing too deep, nothing to bore or put you to sleep. Josh Wiseman’s production does none of that. Wiseman, himself an accomplished actor , directs an excellent cast of stock characters scrambling about through a bevy of clichés and stereotypical characters of the popular murder mystery genre.  Described in one instance as “Agatha Christie meets Pirandello “(Six Characters in Search of an Author) Ed Sala’s play has neither the ingenuity of a Christie whodunit nor the mysterious absurdity and intellectual polemic of a Pirandello. Although the play toys with the notion of truth versus reality it does not, as Pirandello does examine the nature of truth and reality. At a weekend retreat at Lady Somerset’s country estate the actors change characters with alarming rapidity in their search to discover who among them is the author who has placed them in their predicament. The result is chaos and confusion with none of the Agatha Christie challenge to guess the villain or Pirandello’s invitation to feel empathy for the characters in search of an author to release them from their quandary. Bloody Murder appears to be Sala’s only published play. He holds a Masters Degree in Playwrighting from Virginia University, but his biography reveals a career of impressive stage and screen acting credits.

What rescues this wordy and convoluted parody from an evening of tedium is director Wiseman’s decision to play everything over the top, and encourage his actors to ham it up in a melodramatic romp that is more likely to have its audience rolling in the aisles. In this production, the actors rise to the occasion, and it is the performances of each and every member of the cast that on opening night swept across an audience of smiles or gales of laughter. Arran McKenna’s bombastic major is an effective foil for Stuart Roberts’s washed-up actor. Steph Roberts as the maid with the obsessive compulsive dusting disorder is hilarious to watch as she surreptitiously upstages. Antonia Kitzel’s matriarch of the manor lends a fleeting touch of gravitas and impending senility. Holly Ross’s French countess with the unintelligible accent is Jessica Rabbit meets Rita Hayworth. Glenn Brighenti is suitably obsequious as the money hungry nephew as well as the dull flatfoot. Characters change in a cascading sequence of death by poisoning, death by gunshot, death by stabbing and death by the undetectable author.

It all ends as you would expect, as madly as it began  You will get to know who the author is but maybe not. So many appear and die along the way, but, as with The Mousetrap (The Agatha Christie long running production), Sala’s Major urges the audience to keep Mum.

If you find it all too mind bending to follow, you can always play spot the difference in the setting of the second act (Spoiler alert: Check out the back wall of the set.). The production team’s usual high standard is at play with the typical drawing room set with a quirky wallpaper design, the footlights at the front and a stage curtain to take you back to the good old days of British Rep.

If it’s just a bit of fun that you’re after, then Rep’s production of Bloody Murder will fill the bill. Just leave your critical faculties at home, take along a dose of willing suspension of disbelief and sit back and relax and enjoy Wiseman’s first rate cast at play.

 

 

   

BRIEFS BITE CLUB & SAHARA BECK - Canberra Theatre Centre Playhouse.

Director:  Fez  Faanana – Sound Engineer: Benn Shambrook

Canberra Theatre Centre Playhouse November 21^st to 23^rd November, 2024.

Performance on 21^st November reviewed by BILL STEPHENS

Mark Worrell leading the parade in Brief:Bite Club & Sahara Beck"

Describing themselves as cult cabaret mischief makers, circus stars and heart-stopping hooligans, the cast of Briefs Bite Club have been surprising, delighting, even occasionally shocking their audiences around the world for more than 10 years.

In that time, they’ve perfected insouciance as an artform with their cheeky mixture of burlesque, drag, amazing acrobatics and just plain silliness with a succession of unique, cleverly produced extravaganzas.

Previously proudly all-male, for Briefs Bite Club they’ve added a surprise ingredient in talented singer/songwriter Sahara Beck with her excellent three-piece band consisting of her brother Ocean Beck on keys, Damon Joel on Drums and Ben Mackay on drums all costumed rather self-consciously in op-shop treasures.

Beck is a marvellous singer, with a voice able to shift through angelic, ethereal, harsh, urgent and demanding. Her moody songs become the soundtrack for the show which commenced with her earworm “Crack Crack Bang” which introduced the five members of Brief’s with their cutely choreographed routine featuring multi-coloured feather fans.

The cast of Briefs Bite Club.

Following a long, wordy introduction from MC Fez Faanana, Beck took the stage to accompany Thomas Worrell’s amazing hoop routine with her composition “Like You” and Rowan Thomas’ cheeky Cyr wheel strip routine with “Mr Breezy”.    

The program continued with Beck featured in solos with the band, or participating in delightfully silly production numbers built around her songs, and the particular skills of Bite Club soloists, Mark Winmill, Thomas Worrell, Luke Hubbard (Nastia), Rowan Thomas and Fez Faanana whose every appearance featured an ensemble more outrageous than the last.

Thomas Worrell and Sahara Beck in Briefs Bite Club

Among many highlights during the evening was the lovely solo, “Daisy” written and performed by Beck sitting alone in a spotlight on the edge of the stage, which heralded the second half of the program.  

Mark “Captain Kidd” Winmill’s extraordinary trapeze routine dangling practically naked above, and in, a huge cocktail glass; Luke Hubbard (Nastia) performing death-defying tumbles in the highest of high-heel shoes to “Can’t Get Enough”; and the stunning finale in which all five soloists performed dazzling acrobatics to Beck’s “I’m in love” which brought the audience to its feet for a delirious standing ovation; were all memorable.

Mark "Captain Kidd" Winmill in Briefs: Bite Club

Briefs: Bite Club is one of the best of this genre currently touring, with excellent production values and exemplary skill levels. However, despite the undeniable brilliance of Sahara Beck and her songs, by placing so much focus on her, the rest of the show became her support act.

As yet Sahara Beck doesn’t possess the necessary presentation skills to carry a show of this nature and while Briefs:Bite Club with Sahara Beck is an excellent concept, perhaps a little less Beck, and a little more polish to the compere’s presentation, would lift it into the world class show it has the potential to be.  

                                                               Photos by Lachlan Douglas

     This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au