Reviews

This show is very strong conceptually; the idea that the pandemic has transformed society into a collective medical and social experiment that has reduced all members into laboratory rats is a powerful underlying idea. The rat imagery is gradually but emphatically introduced into the show. As the performers recount their experiences of lockdown (and their gradual descent into neurosis or psychosis) the rat imagery becomes louder and stronger.

Kit (Bridget Morrison) has come out, to the horror and disgust of her fundamentalist Christian family.  Her father’s response was to beat her up and throw her out of the family home.  Her brother Peter (Ryan Tracey) not only did not defend her but wrote an open letter of disgust, denigrating her.  Her other brother, loving Dan (Charlie Boscolo), remains loyal to her, separating him from his brother.  And so, Kit’s family – albeit repressive and bigoted - has been rent asunder by Kit’s confession of her sexuality.  Worse, Kit now lives with Bi

True believers in the music of Meat Loaf got their money’s worth, enjoying the lightning bolts of beautiful singing and a terrific band.

However general theatre goers were left scratching their heads at some aspects of the production, which one audience member described to me as ‘high school standard.’

The leads curiously had hand-held microphones, and awkwardly mixed performing to a roving camera, and other times to each other. The camera angles during the dialogue were at times clunky and poorly lit.

The return of Homophonic! in full swing is a sheer delight. The celebration and promotion of queer music and composers has been a long-time quest brought forward by Miranda Hill. The Consort of Melbourne, led by Steven Hodgson, work in collaboration with Hill to produce an outstanding program of original music and performances. The overall effect is a combination of the sweetest melodies, bright impish tunes as well as other more introverted and reflective pieces.