Reviews

Hannah Malarski has a stage presence many would - and probably do - envy.  She has the necessary ‘oomph’, and she immediately connects with the audience.  Warm, engaging, commanding, authoritative, and very attractive, we’re hooked from the start. 

Don’t ask about the title.  I naively expected something like a show about domestic hygiene, perhaps, but...  Anyway...

Little Orphan Annie has been given a sparkling refresh thanks to excellent casting, a few flourishes of digital scenery and some new choreography which has attracted global attention.

After the media call, I uploaded to Instagram  a one-minute clip of Debora Krizak, Keanu Gonzalez and Mackenzie Dunn stepping, twirling, somersaulting and kicking their way through the song “Easy Street” as choreographed by Mitchell Woodcock.

Amish?  Rumours of?  But that reference to the fundamentalist Anabaptist Amish sect in this show’s catchy title is just a way to introduce the way Stephanie Hare grew up in the wilds of Tasmania without technology, without electricity - not even a fridge!  The Amish eschew technology out of religious conviction.  Hare’s Mum was not religious – she was, if anything, a Communist who moved into the wilderness and built a house out of conviction and – as Hare puts it – firewood.  We see a wide shot picture of this house on a big screen, but

Fresh New Worries shines light on the pressures of everyday living in our modern tech world when everything is a Google search away from just another anxiety. Gillian Cosgriff has a ripper of a show running at the Melbourne Comedy Festival and has everybody gasping for more as she juggles her talents around a white  box of  worries plonked  on a Grecian plinth to  the side and her  baby grand piano on the other.