The Sapphires

 

The Sapphires.  Queensland Theatre Company at Canberra Theatre Centre, The Playhouse, May 30 to June 7, 2026
2 hours and 10 minutes, including interval

Reviewed by Frank McKone
May 31

Creatives
Writer Tony Briggs; Director Wesley Enoch
Musical Director Nathaniel Andrew; Choreographer Yolande Brown
Set and Costume Designer Richard Roberts; 
Lighting Designer Ben Hughes; Video Designer Craig Wilkinson
Sound Designer and Sound System Designer Isaac Ogilvie
Assistant Director Chenoa Deemal; Fight Choreographer NJ Price
Intimacy Coordinator Andrea Moor; Vocal Coach Naomi Andrew
Stage Manager Yanni Dubler; Assistant Stage Manager Lialize du Plessis
Stage Management Secondment Tara Kenn

Cast
Dave Lovelace - Jack Bannister; Cynthia McCrae - Ruby Henaway
Robby - Cameron Leonard; Kay McCrae - Aurora Liddle-Christie
Jimmy/Dance Captain - Garret Lyon; Julie McCrae - Tehya Makani
Joe - Chris Nguyen; Gail McCrae - Taeg Twist

Band
Bass - Eli Badger; Drums - Dimple Bani; Keys - James Feagai

Full Program at https://canberratheatrecentre.com.au/wp-content/uploads/2026/05/CTC_The_Sapphires_program.pdf 

The Sapphires is a truly iconic Australian theatrical wonder; and this production coming from Meanjin, Queensland, is wonderful.

In its way, it’s equivalent to Alan Seymour’s The One Day of the Year (1960), which I remember well for its contentious view that enjoying playing two-up in the pub was completely inappropriate considering the immorality of sending Australian (or anyone’s) soldiers to war.  As theatre it was strong, despite objections – and now it is iconic in the proper sense.

Sending  young Indigenous women, in 1968, to entertain Australian soldiers, sent completely inappropriately to battle in Vietnam, was worse than playing two-up, with the same intention to make warfare acceptable.

Turning this venture into a musical, on stage in 2004, and as a movie (2012) written and directed by First Nations men was a brilliant move – as significant as The One Day of the Year for its critical view, and even more entertaining.

The stage show (Melbourne Theatre Company) was directed by Wesley Enoch, and written by Tony Briggs; the movie was directed by Wayne Blair and written by Keith Thompson and Tony Briggs.  

Today’s 2026 Queensland Theatre Company production, again directed by Wesley Enoch, has the standing of a commemoration of a first nations tradition, in recognition of the first women stage actors, 
Deborah Mailman, Rachael Maza, Ursula Yovich and Lisa Flanagan; 
the movie actors, 
Deborah Mailman, Jessica Mauboy, Shari Sebbens and Miranda Tapsell;  
and now 
Ruby Henaway, Aurora Liddle-Christie, Tehya Makani and Taeg Twist.

And do these women sing, and dance, and play out their family differences – and tremendous togetherness – not just with gusto, but with clarity of characterisation that brings out the truth of their situation, while indeed succeeding in the dream of professional recognition – no longer “unseen” as women, nor as Indigenous.

They perform, too, in a closely knit team with Jack Bannister, Cameron Leonard, Garret Lyon, and Chris Nguyen who bring to life the white Australian and black American, and local Vietnamese aspects of the war.

And all perform brilliantly with a live band, and quality sound – and not forgetting quality costuming – which make this valued musical a thoroughly satisfying joy to behold.

Definitely Not To Be Missed.

 

 

 

 

ADELAIDE CABARET FESTIVAL. JUNE 4-21 2026

 

 

Reuben Kaye directs the 2026 Adelaide Cabaret Festival

Adelaide Cabaret Festival. 

Artistic Director Reuben Kaye. Executive Producer Isobel Marmion. Adelaide Festival Centre. June 4-21. Bookings: www. adelaidecabaretfestival.com.au

Previewed by Peter Wilkins.

Isobel Marmion Executive Director of the Adelaide Cabaret Festival

Founded in 2001 by the late Frank Ford AO, the iconic Adelaide Cabaret Festival has grown to be the largest Cabaret Festival in the world. This year alone the festival will showcase 79 performances over 12 nights, featuring local, national and international artists from the United Kingdom, USA and Cuba. Once again the festival program will present a star-studded line up of comedy, theatre and music for that once in a lifetime cabaret experience. For me, June of almost every year has been a pilgrimage to immerse myself in the remarkable array of artists that appear for a very short time at the Adelaide Festival Centre on the banks of the River Torrens. Under such past Artistic Directors as Julia Holt, David and Lisa Campbell, Cate Ceberano, Barrie Humphries, Eddie Perfect and Ali McGregor, Alan Cumming, Tina Arena, Julia Zemiro and Virginia Gay the festival has been a wonderful and wild ride of ecstasy for cabaret lovers far and wide. This year the festival will be directed by the charismatic Reuben Kaye. Kaye needs no introduction to festival audiences of past years. To witness this phenomenal artist perform is to be high on decadent pleasure. In the past I have reviewed Kaye’s performances in glowing terms as “a living Dionysus, outrageously gay, divinely decadent, a towering vision of glitter and glam, inviting his devotees to abandonment and revelry with a dangerous defiance that crashes through convention.”

Alfie Boe will be appearing at the Adelaide Cabaret Festival

“Reuben is a beloved member of the festival family.” ebullient Executive Director of the festival Isobel Marmion tells me. “He is such a fresh, interesting producer of cabaret.  He won the festival’s prestigious Icon Award a couple of years ago and has such an amazing energy. He wants to keep the regulars that people love but also bring in young fresh edgy kind of chaotic basement cabaret that Reuben really loves and I do too. A really big thing for Reuben is development and education as in Rags to Riches an exhibition of cabaret costumes, and a talk series with the artists talking about the history of cabaret, and the work in progress performances.” Marmion is no stranger to the Adelaide Cabaret Festival and a couple of years ago presented a work in progress, Bumbling, billed as “a glorious night of dancing and story-spinning, through yearning and loneliness and honey (yes, really), and that boy you made out with behind your Nan’s garage when you were fourteen. “Prior to taking on the role of Executive Producer Marmion headed Tasmania’s Festival of Voices and worked for several years as Program Director for South Australia’s women’s theatre collective Vitalstatistix. “I think it’s really important to give opportunities to people in the industry as funding decreases.” Marmion says.

Mahalia Barnes sings The Rose

In the same breath she assures me that the festival will have something for everyone and I am curious to delve into the variety of offerings that will excite and thrill audiences at the ’26 festival. We begin with a show that is certain to entertain. Lincoln Elliott from Australia will present Artefact or Repatriation:The Musical), an in-development preview of an unapologetically heist-erical emo-rock musical about stealing stuff back from the British Museum. “I’m so excited. It will be so much fun!” Marmion says.

Em Rusciano gives the brazen middle finger to the kinds of love we’re addicted to chase in Addicted to Love. “She’s really carved out her niche with interesting, beautiful cabaret” Marmion says. “She can connect with a whole lot of people and make them think that they are the only one she’s hanging out with. What a skill.” Regular Cabaret Festivalgoers will be treated to Icon Award recipient Libby O'Donovan’s new show Short, which she will be performing with another powerhouse short singer, Michaela Berger. “We love them so much” Marmion tells me and I have to agree. In their show Short, O'Donovan and Berger present songs written by short people and sung by two very short people. “They are really very short but with really big personalities.”

 And then there’s Mahalia Barnes. She really brings the house down and is sure to again with Mahalia Barnes sings The Rose. She sings Bette Midler’s iconic title song from the film The Rose and other songs of the era. Vocal powerhouse Barnes will take audiences on a wild ride of rebellion, struggle and heartache. Barnes will also appear in What’s the Buzz, a tribute to Andrew Lloyd-Webber and Tim Rice’s hit rock musical Jesus Christ Superstar.

Jordan Gray performs Is That a Cock in Your Pocket,
 Or Are You Here to Kill Me

We have barely touched on the number of remarkable cabaret performances that this festival offers. There are some highlights that deserve mention and typify the diverse and exciting festival that Kaye and Marmion have assembled. People who are able to attend the glittering opening Variety Gala will be fortunate to catch some of the artists who will be performing during the 12 days. For those fortunate enough to be able to attend the entire festival the choice is mind-blowing. There is UK opera and music theatre legend Alfie Boe who will perform with special guest with Amy Manford, renowned Australian soprano best known for her role as Christine in Phantom of the Opera . Australian pop rock group Lime Cordiale will perform their indie-pop tunes with the Adelaide Symphony Orchestra. Lou Blackwell and The French Set returns to the Adelaide cabaret Festival showing real class with her French chansons about love and romance with her show A French Romance.  

Monsieur Camembert perform Cohen Noir

There are acts who need no introduction such as the amazing Casey Donovan who performs at Festival Theatre and Jazz giant Vince Jones' A Maverick's Sale whose one-night stand at the festival looks to be a sell-out. Icon Award winner Paul Capsis returns to the Adelaide Cabaret Festival with Adam Noviello in HOUSE OF ROT:Grey Gardens, a haunting world premiere re-imagining of the 1975 documentary exploring legacy, survival and collapse. Marmion reminds me that there are plenty of new and unusual acts to tempt visitors and open their eyes to a different kind of cabaret experience. These include Monsieur Camembert with their show Cohen Noir. Outrageous femme queer clowns will wet your pants with the hilarious PoPoMoCo (Post Post Modern Comedy). And for something really tantalizingly different trans woman Jordan Gray is not to be missed. On a BBC show she was invited to be on she didn’t tell anyone what she would be doing and stripped naked in front of millions of viewers. The BAFTA Award winner’s show Is That a Cock in Your Pocket Or, Are You Just Here to Kill Me offers a pertinent comment on the Trans-movement in the UK at the moment. Cabaret is the ideal place for queer theatre to have a voice, often before becoming hugely popular in the mainstream. This year’s Frank Ford Commission enabled by a grant in perpetuity by the festival’s late great founder is granted this year to local performer Baylie Carson with their world premiere Baylie Carson is Handsome (ish) Her deeply personal journey of self-discovery follows successes in Six, Mean Girls and Bring It On.

Frankie McNair and Isaac Haigh

Finally, for those who may only be able to attend a selection of world class cabaret performances at the festival there are free events to encourage immersion in this extraordinary event. Cabaret icon Dr. Trevor Jones will again delight with melodies on the piano in the Quartet Bar of the Festival Theatre. In the Space people can mingle at the fabulous LGBTIQ Dance Club. In the Festival Theatre foyer, Kaye has curated a fabulous display of costumes celebrating cabaret’s glamour and grit from Rhonda Burchmore to Kitty Bang Bang and Reg Livermore. Kaye will also host the free and fascinating Festival Talks. He will be talking with special guests as they unpack the art, history and style of Cabaret. Each year the same question arises “What is Cabaret?” Festival talks will provide some insightful answers.

So, with such a plethora of tempting experiences how does one choose? To help audiences who may only be able to attend a limited number of shows on offer the festival offers Packages of three show over any weekend. These may contain some tried and true favourites such as Gillian Cosgriff with There is Nothing Like a Game, something new and appealing like Tara Tiba-OMID with Hope and something that will take you into new territory, a risk worth the taking like Reuben Kaye’s The Kaye Hole.

Marmion’s enthusiasm and love of cabaret in all its permutations is contagious. “We’re flexible.” she says in closing our interview. “We’re resilient and we can still put together a banger of a programme.” She leaves the final word to Reuben Kaye: “This year’s festival is every inch the Reuben Kaye definition of cabaret. It has edge, sex, comedy, fantastic music and hilarious nail-biting comedy. This is a festival of risks, of leaps of faith, huge laughs and bigger heart. There is no other festival that could pull this off. It will change your life.”

Adelaide Cabaret Festival 2026.

Adelaide Festival Centre

Program: www.adelaidecabaretfestival.com.au

  

84 Charing Cross Road - Ensemble Theatre

 

 84 Charing Cross Road by Helen Hanff.  Ensemble Theatre, Sydney May 1 – June 2026.

Reviewed by Frank McKone
May 30

Creatives

Writer: Helene Hanff; Adapted for the stage by James Roose-Evans
Director: Mark Kilmurry
Movement Director: Julia Robertson; Set & Costume Designer: Nick Fry
Lighting Designer: Matt Cox; 
Composer & Sound Designer: Madeleine Picard
Dialect Coach: Linda Nicholls-Gidley
Stage Manager: Lauren Tulloh; Assistant Stage Manager: Bella Wellstead
Costume Supervisor: Judy Tanner


Cast

Helen Hanff - Blazey Best
Megan Wells / Maxine Stuart - Katie Fitchett
Cecily Farr / Mrs Todd - Angela Mahlatjie
Bill Humphries - Brian Meegan
Frank Doel - Erik Thomson

84 Charing Cross Road, adapted for stage from Helen Hanff’s memoir, is an intriguing play, and ultimately sad as the final letter tells of Frank Doel’s unexpected death.  In the intimacy of the Ensemble, where we can see each other all around the acting space, it’s almost like family as Blazey Best opens the envelope and begins to read – but it’s not from Frank himself, as it has always been for so many years.  

Just when it seems, at last, Helen may have the money to go to England to visit the bookshop and actually meet Frank.

Blazey Best’s creation of the character of the real Helen Hanff, always a risky acting task, is exactly right, except on one point.  Helen was interviewed at the time the story was launched as a movie. 

The important point is that Best has captured Helen’s mannerisms, her way of speaking, but has exaggerated her New York accent, giving her a high-pitched sharp tone of voice, which I often found made her words difficult to follow – while making the character sometimes quite unattractive.  The real Helen, at least when she was older, had a moderated and more rounded sounding NY voice.

YouTube·ThamesTv·6 Oct 2025

Maybe the harshness in Best’s presentation is right early in the play, but should be moderated as Helen ages.  I think, in comparison, that Erik Thomson as Frank achieved that kind change over time very well, with a bit more than necessary of a toff English accent when still young, making his antique book-selling a ‘thing’; but settling in to a confident corporate manager’s smooth speaking; and later becoming older – and badly affected by illness, like the ’flu, showing a touch of roughness in an ageing voice.

The design of the staging of the letters being read out as they were being “written” at Helen’s writing desk in New York and in the office at 84 Charing Cross Road in London, appearing as together simultaneously, is highly successful in creating the sense of personal connection that Helen and Frank developed in real life at a physical distance.

This design also then needed fine detail by the movement director to create the complex set of relationships in the London office instantly parallel with the details of Helen’s activities and emotional actions and reactions in sending and receiving.

The timing – as in comedy – has to be precise to a fine degree; and all the actors in this tight group got it right, becoming  fascinating to watch at every moment.  They never missed.

Which is a reason in itself for the play being Not to be Missed.

And then there’s the real reason for seeing this story of the 1950s, 60s and even later, the time before email, social media and AI – when we wrote letters.  And when we expressed our feelings for each other.

I was there, growing into adulthood alongside Helen Hanff, and I thank Blazey, Erik, Brian, Katie and Angela, and the whole Ensemble team for showing me the way. 

 

 

 

OPERA GALA - Snow Concert Hall

 

Thomas Victor Johnson (Piano) - Helen Sherman - Cathy-Di Zhang

Artistic Director – Ana de la Vega

Snow Concert Hall May 29, 2026 - Reviewed by BILL STEPHENS

Opera lovers at Snow Concert Hall’s Opera Gala were treated to a dazzling evening of highlights performed by two of Australia’s most accomplished and versatile singers, Cathy-Di Zhang and Helen Sherman.

Since returning to Australia after successful careers overseas, both artists have become audience favourites through appearances with Opera Australia, Pinchgut Opera and state opera companies.

What made this gala especially intriguing was that it marked the first time the two had shared the stage. They clearly relished the opportunity, and their delightful rapport was evident throughout.

Helen Sherman - Thomas Victor Johnson (piano)

Sherman opened the program with a coquettish interpretation of “Una voce poco fa”, Rosina’s aria from Rossini’s The Barber of Seville, a role she performed with Opera Australia in its 2025 season.

She then introduced Cathy-Di Zhang, who had stepped in at short notice after the withdrawal of the previously announced Jane Ede. Together they gave a charming rendition of the playful duet “Ah, guarda sorella” (“Ah look, sister”), after which Zhang followed with the dramatic aria “Come scoglio” (“Like a rock”), the first of four excerpts from Mozart’s Cosi fan tutte, an opera in which both singers have appeared in separate productions.

Cathy-Di Zhang - Thomas Victor Johnson (Piano)

The second half opened with two more Cosi fan tutte excerpts: Sherman’s dramatic rendition of “Smanie implacabili” (“Torments implacable”) following which Zhang rejoined her for the duet “Prenderò quel brunettino” (“I’ll take the dark-haired one”).

Other duets included the affecting “Miro, o Norma” from Bellini’s Norma and “Ah, perdona al primo affetto” from Mozart’s La Clemenza di Tito, a treat for Canberra audiences who remember Peter Coleman-Wright’s full National Opera production.

Both artists introduced their items with brief, delightfully cheeky remarks and performed with compelling dramatic commitment, inviting the audience not only to savour the beauty of their singing but also to admire the artistry of their characterisations.

Among the solos, Sherman offered an arresting “Habanera” from Bizet’s Carmen and the demanding mezzo aria “Parto, parto” from Mozart’s La Clemenza di Tito, while Zhang enchanted with “Song to the Moon” from Dvořák’s Rusalka and drew tears with “One Fine Day” from Puccini’s Madama Butterfly.

That aria was preceded by the Act III Prelude from Madama Butterfly, played by Thomas Victor Johnson, who provided masterful piano accompaniment throughout for a memorable concert which concluded with a superb encore rendition of the famous Barcarolle from Offenbach’s The Tales of Hoffmann.

                                                            Images by Dalice Trost

         This review first published in the digital edition of CITY NEWS on May 30th 2026

 

PLAYBACK (Or, a play about but not starring a famous politician)

 

Playback (Or a play about but not starring a famous politician) by Tom Glassey.

Directed by Craig Alexander. Cast Andrea Close and Tyler Jenkins. Caroline O’Brien (Voice of Debt Collector).  Lighting and Stage Design Veronique Bennet. Costume Design Leah Ridley. Luke Patterson Videographer and Editor. Diana Nixon Voice Coach. Development Consultant Ross Mueller. A Street produced professional theatre production. Developed through The Street’s Resident Theatre Production. Street Two. The Street Theatre. May 22-31 2026. Bookings: www.thestreet.org.au

Reviewed by Peter Wilkins

 

Tom Glassey’s writing is razor sharp, pointed with knife-edged perception and the thrust of opinion. His new play Playback (Or a play about but not starring a famous politician), developed through the Street Theatre’s Resident Theatre Production is finely honed satire, subtle yet undeniably resonating with uncomfortable truth. The plot is  purposefully unambiguous. An ambitious young man (Tyler Jenkins) worms and lies his way into securing a job as a videographer for Deborah Grant (Andrea Close), a former broadcaster, edged out in favour of a new and younger breed and now the producer of her political podcast Proper Gander. Maybe Glassey’s intent is not so subtle after all.  Grant is after a scoop, hot on the trail of political obfuscation and discombobulation. She has managed to secure an interview with Scott Morrison after his valedictory speech to the Parliament . Morrison is the perfect target for her campaign to exhaust and assassinate, to expose the perpetrator and exonerate all responsibility from those presumed guilty before being proven innocent. 

Tyler Jenkins in Tom Glassey's 

Playback (Or a play about but not starring a famous politician

Part documentary, part political drama, part investigative journalism Tom Glassey's Playback(Or, a play about but not starring a famous politician) rattles the saber, slices through the dramatic events of Scott Morrison’s time in office and grapples with the motives and ethics that resulted in disastrous consequences for ordinary Australians. Glassey’s play is an attempt to elicit answers and cut a swathe through the mediocrity of a man whose complexity became the root cause of inane judgement and contradiction. As a Press Gallery journalist and podcast enthusiast, Glassey’s insightful perception of   the motives and manipulation of political opportunism feeds an engaging and thought-provoking one act reality doco. It is made even more riveting by the fact that in Playback(Or, a play about but not starring a famous politician) the past is no foreign country. The past remains presently raw, charred by the ashes of the 2019 bushfires, buffeted by the accounts of lost souls and refugee boats cast against the rocks and victims of government actions that fail to protect. Videographer Luke Patterson unearths footage that utters condemnation in its images.

Andrea Close as podcaster Deborah Grant

 And yet, Glassey’s play is not solely cast in acrimonious condemnation. Confusion befuddles any partiality.  We see the child actor in film footage of a young Morrison playing Oliver alongside his father as Fagin.  We see the devoted groom with his beloved bride Jenny.  We see the adoring family man. We see the devout man of God. We see the man espousing virtuous values in his Maiden speech. It is here that we see Glassey’s search for answers as he attempts to reconcile with the man who doesn’t hold a hose, goes on holiday as Cobago burns, helps his kind and turns his back on others, destroys lives with the law and holds multiple portfolios. Glassey’s crafting of his drama is masterful, leading us towards empthy one moment while casting us into doubt the next. One man is neither wholly good, nor bad. And yet Jenkins’s enigmatic Man is entirely single-minded in his ambition. Close’s Deborah Grant is obsessed with discovering that one question that will destroy any doubt in the cat and mouse game of political journalism. Glassey is careful to avoid prejudicial condemnation and yet his play leaves little doubt of calumny.

 A wave of anger consumes me at the announcement of a Robodebt victim’s death. The emotion has been building during the seventy-minute drama. Director Craig Alexander directs his excellent cast with purposeful intent, allowing an audience to reflect in the  pauses and differentiate Jenkins’s quirky  and ambitious zeal with Close’s vulnerability as she strives to hold on to past professional dominance. Power shifts and we see Grant grapple with personal and professional challenges. Close and Jenkins are superbly cast. The generational difference is expertly played with believability that gives the production authenticity. The Street’s Resident Theatre Production initiative offers an outstanding opportunity for the development of new works with a consultant, in this case Ross Mueller, to guide the process. 

 I leave the theatre with more questions than answers. And yet Glassey’s play does raise one lasting question “What is legacy and how can it be defined?” For me this is the one query that made Playback (Or, a play about but not starring a famous politician) a must see production.

Photographs by Nathan Smith Photography 

 

 

 

SHELTERING - Bangarra Dance Theatre - Canberra Theatre

Daniel Mateo in "Brown Boys" - Photo: Cass Eipper

Canberra Theatre Centre May 23 - 27, 2026.               

Premiere performance May 23^rd reviewed by BILL STEPHENS.

2026 is shaping up to be a memorable year for Bangarra Dance Theatre.

Fresh from its Sydney Opera House season of Flora, a co-production with the Australian Ballet, Bangarra is premiering Sheltering in Canberra ahead of its first national tour of 2026.

Sheltering is partly a celebration of Bangarra’s international recognition after the Vienna Biennale Danza 2026 awarded the company the prestigious Golden Lion for Lifetime Achievement. The honour will be presented before Bangarra performs Terrain at the Biennale Danza, the Festival of Contemporary Dance in Venice, in July.

Fittingly, Sheltering gives the company a chance to present a triple bill that honours both its past and its future.

Bangarra dancers perform "Keeping Grounded" in SHELTERING 

Photo: Daniel Boud

The first work is a remount of Keeping Grounded, created for the 2023 program Dance Clan by NAISDA Dance College graduate Glory Tuohy-Daniell, who joined Bangarra in 2016 through the Russell Page Graduate Program.

Keeping Grounded is dominated by a huge net designed by Shana O’Brien, first revealed draped over eight dancers. Created to honour Indigenous connection to land, the work opens with what appears to be a mound of earth at centre stage.

Tamara Bouman and Daniel Mateo in "Keeping Grounded"

Photo: Daniel Boud

As Karen Norris’s evocative lighting slowly reveals the stage, the dancers emerge through holes in the net and perform intricately choreographed floor sequences—first with their arms, then with their whole bodies.

Subtle lighting shifts and the constant repositioning of the net allow Tuohy-Daniell to explore its possibilities as a moving sculpture through which the dancers climb, swing and play.

The work unfolds in six sections, danced in varying combinations and marked by subtle costume changes. Designed by Clair Parker, the costumes range from loose earth-toned pants and tops to striking brown unitards.

Although the significance of each section is not always clear, the effect is mesmerising, not least because the dancers perform Tuohy-Daniell’s demanding choreography with impressive skill and precision.

"Sheok" in SHELTERING. Chantell Lee Lockhart (Keeper) (c)

Photo: Daniel Boud

The evening’s major work is Sheoak, created by Frances Rings in 2015 in response to the threat of Aboriginal community closures and the misconception that life in remote communities was merely a “lifestyle choice”.

Little appears to have changed since then, and Rings’s revival of this seminal work has lost none of its force. Across its three sections—Place, Body and Spirit—it celebrates the resilience of First Nations women.

The choice is especially resonant because Sheoak is set to the last score David Page composed for the company before his death in 2016.

The printed program includes a moving tribute to Page’s contribution as a songman, storyteller and performer, and as composer for twenty-seven Bangarra productions.

Since its inception, Bangarra has been celebrated for a design aesthetic grounded in natural elements. This production offers superb examples from three artists central to that reputation: Jennifer Irwin (costumes), Jacob Nash (set) and Karen Norris (lighting).

Bangarra dancers performing "Sheoak" in SHELTERING.

Photo: Edward Mulvihill.

At first, Irwin dresses the dancers in striking white two-piece costumes overprinted with black tree-branch silhouettes. Nash complements them with old-growth scar tree poles that descend from above and become part of the choreography.

Later, Irwin overlays these costumes with extraordinary skeleton-like waistcoats, giving the dancers a zombie-like appearance. In an aggressive male section, the dancers push and shove one another while dressed in black streaked with red, suggestive of blood.

For the final section, Spirit, Irwin costumes the company in flowing pants for the men and skirts for the women.

Bangarra dancers perform "Sheoak" in SHELTERING.

Photo: Daniel Boud

Linking the two works is the striking six-minute film Brown Boys.

Co-directed by Daniel Mateo and Cass Mortimer Eipper, choreographed by Mateo, with music by Leon Rodgers and design by Elizabeth Gadsby, the film reinforces the program’s central theme.

A meditation on the dislocation from Country felt by young urban brown boys, it is gorgeously shot by Liam Brennan and compellingly performed and spoken by Mateo. It also provides an imaginative way to avoid breaking the program’s mood with an interval.

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