Reviews

Nassim Soleimanpour is an unusual writer who is renowned for scripting text for unrehearsed performance. Echo is a deeply personal account of his own migration journey, which is fraught with the trauma of separation, the emotional tug of war between cultures, and the desperate desire to see peace and tranquillity in his homeland. The script is unrehearsed and deliberately unprepared, and a performer is invited to deliver his often-poetic prose and the experience of transporting the self into new geographical and psychological spaces.

‘Genuine poetry can communicate before it is understood,’ wrote T S Eliot.  Whether these ‘late works’ by Samuel Beckett are ‘poetry’ or not, in this show his texts communicate emotionally – even viscerally - before we understand them rationally.  They leave behind an emotional residue; there is no narrative thread (until perhaps the last piece), there is no context.

Mary Shelley’s Frankenstein doesn’t just attach the author’s name as a way to differentiate it from other adaptations of this classic horror tale. Featuring Mary as the lead character, the play explores Mary’s struggles with writing the horror, her relationship to the characters and her emotions as the story progresses.

The Australian premiere of The Pirate Queen musical has docked in Melbourne with grandeur, heart, and a fiercely talented creative team. This is a coup for MLOC as part of their 80th year celebrations, performing this largely unknown but equally exciting musical from the composers that gave us Les Misérables and Miss Saigon, and the producers of the phenomenon that is Riverdance.