Category Archives: Theatre

Review: Female Of The Species (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Nov 1 – 23, 2024
Playwright: Joanna Murray-Smith
Director: Erica Lovell
Cast: Lib Campbell, Doron Chester, Jade Fuda, Joe Kalou, Mark Lee, Lucy Miller
Images by Noni Carroll

Theatre review
Margot is struggling with her latest book. A star of feminism’s second wave, she seems to have run out of things to say, after publishing a raft of titles over thirty or so years. The 2006 play Female of the Species by Joanna Murray-Smith is itself too, not altogether relevant in today’s climate of progressive politics, but the work is thankfully sound with fundamental principles that continue to prove credible. More important perhaps, is the endurance of its comedy, which we discover to be quite hilarious, while it expounds on the eternally contentious subject of gender inequity.

Intricate direction by Erica Lovell ensures no stone unturned, for a show determined to deliver the laughs. A warm exuberance takes hold from its first moments and never lets up, making it a delightful experience for its entirety. Production design by Paris Burrowes depicts with accuracy the epoch that we slightly revert to, and lighting design by James Wallis is understandably restrained in a production that requires no need for bells and whistles.

It is all about the performances in Female of the Species, and the cast delivers in spades. Lucy Miller provides rich intellectual fodder with her complex portrayal of Margot. Her daughter Tess is relentlessly funny, as depicted by an inventive Lib Campbell. The intruder Molly is imbued thoughtful intensity by Jade Fuda. Male characters appear later in the piece, with Doron Chester, Joe Kalou and Mark Lee all bringing exceptional buoyancy to the presentation.

With each generation of activism, we seem to get closer to a meaningful unravelling, if not dismantlement, of the structures that inhibit and subjugate. With this revisit of Female of the Species, it appears we have discovered a bigger truth in the current fourth wave, demonstrating that an understanding of previous cycles only means that greater discoveries will surely expose further machinations of the patriarchy. It is perhaps unfathomable today that the dual and conflated projects of feminism and decolonisation can ever be completed, but having them as a central purpose for being, or simply as guiding principles, is in itself, a key to fulfilment.

www.oldfitztheatre.com.au | www.rogueprojects.com.au

Review: Sunday (Sydney Theatre Company/Melbourne Theatre Company)

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Venue: Sydney Opera House (Sydney NSW), Nov 28 – Dec 7, 2024
Playwright: Anthony Weigh
Director: Sarah Goodes
Cast: Matt Day, Jude Hyland, Ratidzo Mambo, James O’Connell, Nikki Shiels
Images by Prudence Upton

Theatre review
It was the 1930s and Sunday Reed wore trousers. Obviously unafraid of controversy, she had courted a life of affluent bohemia, at a time when being a patron of the arts did not preclude one from more unconventional or perhaps, scandalous pursuits. No doubt her ménage à trois with husband John Reed and now legendary painter Sidney Nolan would have raised more than a few eyebrows, the Reeds were nonetheless celebrated for supporting the careers of prominent artists through their establishment of the Heide Circle.

Anthony Weigh’s Sunday offers a glimpse into the heady days of our heroine’s life as philanthropist and muse, paying particular attention to the years during which Nolan had played a significant part. Weigh’s writing is passionate and incisive, for a sprawling tale spanning more than two decades. Sections venture into the granularity of art philosophy that may not appeal to wider audiences, but Sunday‘s explorations of an unorthodox romance is certainly fascinating.

Directed by Sarah Goodes, the staging is a spirited showcase of a woman’s experience of privilege and autonomy, at a time when gender roles remained strictly prescribed. It is in many ways an inspiring portrait, not only of the daring choices made by a woman, but also of the tacit acceptance of her radical approach to life, by the men around her. Sunday Reed is presented as brilliant, but also flawed, which somewhat perversely makes her story all the more intriguing.

Nikki Shiels is our marvellous leading lady, authoritative and robust in her depictions of a complex personality, rigorously persuasive with all that she manifests. Highly dramatic but also irreproachably detailed, it is a performance that is as provocative as it is captivating, demanding both our focus and intellect. Matt Day brings relentless charm to the part of John Reed, memorable for a lightness of touch that conveys a great deal of sophistication, in a play that communicates with gratifying maturity. In the role of Sidney Nolan is James O’Connell, whose journey from naivety to self-assuredness is charted with evident diligence alongside an admirable grace. Jude Hyland and Ratidzo Mambo as Sweeney Reed and Joy Hester respectively, surprise with the gravity they introduce, notwithstanding the brevity of their appearances.

Set design by Anna Cordingley is appropriately painterly with the textures it incorporates, and paired with lights by Paul Jackson, there is an unmistakeable delicacy to the beauty being harnessed, for a tale that often talks about aesthetics as a central value defining our ways of being. Impressively detailed costumes by Harriet Oxley transports us in time and in sensibility, to invite contemplation on our recent history, especially in terms of class and gender. Sublime work by composer Jethro Woodward includes unforgettable moments in the most exquisite of jazz forms, as well as some truly entrancing sound effects that get us completely invested in all the delicious tumult of Sunday.

The wealthy will always have inordinate influence on the architecture of our collective lives. The Reeds were a dominant force in our artistic landscape in a modern and colonised Australia, not only making decisions about who to foreground, but also on what the agenda looks like. Along with the ability to circumvent societal norms, it is that insidious impact on others, that defines power. One imagines that rich white women can do anything, and Sunday Reed certainly dared to reach for the stars.

www.sydneytheatre.com.au

Review: Six (Theatre Royal)

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Venue: Theatre Royal (Sydney NSW), 25 Oct – 28 Dec, 2024
Creators: Toby Marlow, Lucy Moss
Directors: Jamie Armitage, Lucy Moss
Cast: Chelsea Dawson, Kimberley Hodgson, Loren Hunter, Giorgia Kennedy, Deirdre Khoo, Zelia Rose Kitoko
Images by James D. Morgan

Theatre review
Henry VIII’s wives compete to determine who had suffered the most. Turning them into queens of pop, Toby Marlow and Lucy Moss’s 2017 musical Six configures these historical women into a contemporary girl group, to tell their tragic stories from the 16th century. A thoroughly exuberant work, with a particular youthful appeal, Six may not be able to say as much about feminism as it wishes, but Marlow and Moss’ proficiency at crafting pop perfection is undeniable.

Casting on this occasion is nothing short of exquisite, with each performer bringing colourful idiosyncrasy to the piece, yet introducing flawless chemistry to their efforts as a collective. Chelsea Dawson, Kimberley Hodgson, Loren Hunter, Giorgia Kennedy, Deirdre Khoo, and Zelia Rose Kitoko, are powerful as a team and individually endearing, all effortless at having us mesmerised with each of their moments at centre stage. The choice to deliver their lines in Australian accents proves a charming and memorable feature, for this revival of an enduring crowd-pleaser.

The musicians for this remount are similarly impeccable. Danielle Colligan, Claire Healy, Heidi Maguire, Ann Metry, and Kathryn Stammers are a formidable backup band, bringing unrelenting excitement, to a show determined to make us feel as though immersed in the setting of an arena concert. 

The king’s wives may have been dispensable and objectified, but we can try to remember them in new ways, with their agency intact. Much as conditions all those centuries ago had unquestionably deprived many of their freedoms, we can see in Six that it is possible to find alternate interpretations to narratives, if only to inspire defiance, for a culture that persists with its need to keep women down.

www.sixthemusical.com.au

Review: Penpals (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Oct 23 – Nov 9, 2024
Book, Music & Lyrics: Megan Robinson
Director: Sarah Campbell
Cast: Danielle Lorzano, Rhiannon Lidbury, Damien Noyce, Megan Robinson, Danika Rojas, Toby Rowe, Nikolas Zielinski 
Images by Jessie Jay

Theatre review
The story involves 2 high school girls falling in love, after writing to each other between Perth and Sydney. It was 1997, and letters were on their last legs. In the musical Penpals by Megan Robinson, we can clearly see that those were more romantic times, although certainly undeniable is that homophobia was significantly harsher. Robinson’s songs are excellent, but the many scenes in between musical numbers are written with less flair. The plot is thoughtfully assembled, even if it can often feel excessively detailed.

Robinson’s vocals are very strong, in the role of Callie. Singing by Danika Rojas for Pearce too, is beautiful. Acting however, is very intemperate across the board, by all members of the seven-person cast. Direction by Sarah Campbell requires a more subtle approach, in order that the audience may invest more authentically and tenderly into the love story. Musical direction by Hazel Alexander does well to convey the emotional qualities of Penpals, and with greater access to resources, there is no doubt that the songs can be presented in a much more affecting manner.

It is wonderful to see young artists paying tribute to a previous generation of queer people. There is a danger in former struggles becoming forgotten, not only because the young need a way to value their freedoms today, but also because nefarious forces are always poised to attack, when given the opportunity. We cannot let our guards down, when we know that the conservatives are constantly looking for new scapegoats to serve their agenda. Queer people remain an easy target, and our vigilance is imperative, to keep them fearful of our might.

www.qtopiasydney.com.au | www.instagram.com/penpalsmusical

Review: McGuffin Park (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), 18 Oct – 23 Nov, 2024
Playwright: Sam O’Sullivan
Director: Mark Kilmurry
Cast: Thomas Campbell, Jamie Oxenbould, Lizzie Schebesta, Eloise Snape, Shan-Ree Tan
Images by Prudence Upton

Theatre review
Best friends since childhood, Fiona and Jack have been close all of their lives. Things begin to change however, when they both decide to run for mayor of their small Australian town. The comedy of Sam O’Sullivan’s McGuffin Park revolves around the pettiness of people in local governments, while offering a reminder on the fragility of our democracy. The writing is consistently amusing, but even though structured with considerable sophistication, its stakes are never really high enough to have us invest more meaningfully than with bursts of laughter, persistent as those may be.   

Director Mark Kilmurry activates all the kooky personalities and comical situations, to create a show full of entertainment value, determined to engage from start to finish. Impeccable timing from the cast sustains our attention effortlessly. Eloise Snape and Shan-Ree Tan bring integrity to their portrayals of Fiona and Jack, both actors telling the story with crispness and with humour. Thomas Campbell, Jamie Oxenbould and Lizzie Schebesta play a gamut of zany archetypes, some charming and others terrifying, but all thoroughly hilarious.

Production design by Simon Greer is intentionally unpalatable, but clearly accurate in its depictions of aesthetically deficient spaces that all are familiar with. Trudy Dalgleish’s lights establish variations in tone and texture for the narrative’s every gentle shift in attitude. Sounds by Jessica Dunn too provide effective but subtle enhancements, for a production that connects securely with our senses, to help explore the inner workings of our town councils.

There is an optimism in McGuffin Park that reveals the power of the collective, or how it is in the collaborative efforts of those who choose to participate, that something greater can result. There are no geniuses in the play, only regular individuals who understand that democracy is no accident. Humans are capable of both good and bad, but it is when we come together, that we stand a chance of bringing out the better parts of our erratic nature.

www.ensemble.com.au

Review: Hedda Gabler (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Oct 18 – Nov 2, 2024
Playwright: Anthony Skuse (after Henrik Ibsen)
Director: Anthony Skuse
Cast: Jane Angharad, Jack Angwin, Suzann James, Christie Mae, Ella Prince, James Smithers, Christopher Tomkinson
Images by Braiden Toko

Theatre review
Hedda did not have many options in life, being a woman in the 19th century. She went with the most sensible route and chose the best candidate for a successful married life, but found only bitter resentment. Henrik Ibsen’s Hedda Gabler exposes what it is often like, for women who obey the rules in patriarchal systems that offer little more than illusory promises.

This short and sharp adaptation by Anthony Skuse goes straight to the point of Hedda’s discontent. Indeed, there is no real need to explain her exasperation, in a world we know that is determined to prevent women from attaining true fulfilment. Skuse’s succinct dialogue delivers a condensed experience of Hedda Gabler, one that retains entirely the moral of the story. There is an inevitable reduction in tension leading up to the dramatic climax, but there is a newfound velocity to this iteration of the 1891 story that proves invigorating.

Set design by James Smithers delivers clean lines for a simplified representation of Hedda’s home. Max Shaw’s costumes help depict with accuracy, the social status and relevant epoch being explored. Travis Kecek’s lights are uncomplicated, but effective in guiding us through shifts in temperament. Live music by Christie Mae on the piano, render scene transitions with fluidity and reflectiveness.

Actor Ella Prince takes on the lead role with blistering intensity if slightly lacking in subtlety, for moments when allusions are more than sufficient in drawing us into Hedda’s troubled mind. Jack Angwin and Christopher Tomkinson bring wonderful richness to their portrayals of auxiliary men in Hedda’s life, both performers offering marvellous intrigue and a palpable sense of danger to the narrative.

No single person in Hedda’s orbit can be held liable for her demise. We understand that it is the grander scheme of things, that drives her to destruction. No one is individually responsible, yet we are all culpable, in upholding systems that fail the majority. Hedda’s material withdrawal from adversity can be considered futile, especially in karmic terms; a person’s body may leave this realm, but their presence is never really dissolved. Whether we believe that one returns in cycles, or we simply look at prevailing structures that are relentless in regulating lives over generations, it is clear that retreating from the struggle is ineffectual. It is in the commitment to finding solutions, that we can hope to approach something like exaltation.

www.kingsxtheatre.com | www.secrethouse.com.au

Review: Yentl (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Oct 17 – Nov 10, 2024
Playwrights: Gary Abrahams, Elise Hearst, Galit Klas (based on a short story by Isaac Bashevis Singer)
Director: Gary Abrahams
Cast: Amy Hack, Nicholas Jaquinot, Genevieve Kingsford, Evelyn Krape
Images by Jeff Busby

Theatre review
Regarded female, the young adult in Isaac Bashevis Singer’s 1962 short story has to don disguise as male, in order to obtain a formal Jewish education. It was early 20th-century Poland in Yentl the Yeshiva Boy, when the rigidity of gender roles was even more pronounced than they are today. The dominance of religion had meant that many were not able to live their true selves, but adhere instead to strict prescriptions of teachings and texts, that were too often concerned with the constraint of people.

In this 2024 stage adaptation of Yentl, the central character’s zeal to abandon their old garments in exchange for those of the opposite gender, is clearly seen to be more than a matter of access. Not only are Yentl’s desires about enlightenment, they are in fact about an actualisation of identity. Yentl takes the big step of taking public, their previously secret dressing up in their father’s clothing. This appropriation of gender represents for Yentl an opportunity to penetrate an oppressive system, as well as to assume an identity closer to their natural essence.

In 2024, the proliferation of terminology like genderqueer, nonbinary and transness, along with a greater understand of their accompanying definitions and perspectives, means that we see Yentl in a new and clearer light. Of course, they had known themselves for decades, but it may be that we are only now catching up, and it is to the credit of playwrights Gary Abrahams, Elise Hearst and Galit Klas, and their rigorous work, that we can have this restored and truer knowledge of who Yentl was.

Directed by Abrahams, this mesmerising update delivers for its audience, delicious intellectual engagement, along with fabulous entertainment. It is as amusing as it is informative, with an admirable sophistication in both style and thought, that makes Yentl an exceptional work of theatre.

Charming production design by Dann Barber carves out a time and place that looks to be specific and accurate, with manipulations of depth that help us imagine the various locations in which the story resides. Rachel Burke’s lights offer sensitive enhancement to the exalting visual beauty being presented, with a sensual intensity that makes the conveyance of ideas in Yentl feel tender and intimate. Max Lyandvert’s sounds and music keep us attentive to the shifting temperaments for the piece, able to bring the drama when the moment calls for it.

Actor Amy Hack is entirely convincing in the titular role, marvellously precise in voice and physicality for her embodiment of a person both pretending to be something other, whilst simultaneously becoming closer to their real self. Hack’s technical proficiency may prove astonishing, but it is her manifest empathetic acuity for the inner world of Yentl that is really moving.  Other members of cast too are highly impressive; Nicholas Jaquinot, Genevieve Kingsford and Evelyn Krape can be remembered for bringing artistic brilliance to a staging replete with intelligence, generosity and soul.

It is Yentl’s soul that eventually comes to the fore. The show commences with a simple understanding about sex and relevant biological constitutions, and how our societies are determined to create categories according to those perceived differences, often for the purposes of marginalisation and disenfranchisement. Yentl the play reminds us however that if gender is indeed a real thing, it can only exist where a person’s soul is, knowing that it was always the whole person and not just particular portions of their anatomy, that those notions apply.

A soul is mostly resolute. Just as we need to believe that the human soul is essentially good, we have to believe that its other aspects too bear fundamental qualities that can never be truly disguised or transmuted. Some souls come gendered one way or the other, independent of bodily realities, and other souls simply do not play by those rules. Our wish is for Yentl to finally accept, and love, their own soul, just as we must always see one another for only who we are.

www.yentl.com.au

Review: Dear Evan Hansen (Roslyn Packer Theatre)

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Venue: Roslyn Packer Theatre (Sydney NSW), Oct 12 – Dec 1, 2024
Book: Steven Levenson
Music and Lyrics: Benj Pasek & Justin Paul
Director: Dean Bryant
Cast: Martin Crewes, Verity Hunt-Ballard, Georgia Laga’aia, Natalie O’Donnell, Carmel Rodrigues, Jacob Rozario, Harry Targett, Beau Woodbridge 
Images by Daniel Boud

Theatre review
Evan finally becomes popular, after fabricating a close relationship with Connor, after Connor’s suicide. In the teen drama of Dear Evan Hansen, we watch a protagonist suffer from loneliness and anxiety, but gradually grow in maturity and self-awareness, after learning from his mistakes. The narrative, like the songs of this 2016 musical, is earnestly sentimental to a fault. The book by Steven Levenson, with songs by Benj Pasek and Justin Paul, depict the substantive effects of a snowballing lie, but everything works too hard to keep Evan likeable throughout the piece.

What may be saccharine for some, is also the ticket to commercial viability, in this business of the musical theatre. Productions like Dear Evan Hansen often prove successful even when deficient in literary complexity, or indeed any simple sense of irony. The show’s stakes too are never really high enough, but it does seem that formulaic song writing is more than adequate to have audiences invest, both in terms of emotions and money.

The staging is however, very slick and frequently spectacular, as directed by Dean Bryant, with enveloping video projections by David Bergman leaving a particular strong impression, and musical direction by Zara Stanton never failing to have the audience roused and beguiled. Sound engineering by Ghiovanna De Oliveira is highly effective in achieving extraordinary clarity and balance, and can be credited for enriching the quality of singing by its passionate cast.

Beau Woodbridge plays Evan, with immense sincerity and an admirable precision, in a presentation memorable for its technical excellence. Jacob Rozario is a godsend as classmate Jared, able to introduce some uplifting playfulness, to an excessively solemn experience. Maternal characters are played powerfully by Verity Hunt-Ballard and Natalie O’Donnell, both bringing an air of substance, to roles that are mediocrely written.

It should be no surprise that entertainment can be packaged in something bland and inoffensive, in its commercial aspirations to have the widest reach. When art bears those same qualities however, we have to be suspicious of what it says, in the possible absence of integrity and truth. The message of Dear Evan Hansen can feel dubious on reflection, and we begin to understand that a momentary sensation of heightened dramatics, can prove subsequently to be empty and cheap.

www.dearevanhansenmusical.com.au

Review: Flat Earthers: The Musical (Griffin Theatre Co / Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Oct 11 – Nov 9, 2024
Book and Lyrics: Jean Tong, Lou Wall
Songwriting: Lou Wall, James Gales
Director: Declan Greene
Cast: Michelle Brasier, Lena Cruz, Manali Datar, Milo Hartill, Amanda McGregor, Manon Guderson-Briggs, Mel O’Brien, Shannen Alyce Quan, Zarif
Images by John McRae

Theatre review
The story begins when Ria and Flick meet online, and quickly fall in love. Being a conspiracy theorist however, means that Flick is making their unfolding romance very complicated indeed. Flat Earthers: The Musical by Jean Tong, Lou Wall and James Gales commences with a fascinating conceit involving the very contemporary phenomenon of information silos and alternative facts, but quickly devolves into a confusing quandary of fantastical excursions.

Director Declan Greene brings a sense of exuberance to an outlandish plot that goes completely frenzied and unruly, but the musical comedy never really connects in any meaningful way. A heavy reliance on video elements, as designed by Xanthe Dobbie and Daniel Herten, makes the experience feel excessively complicated, resulting in a sensory overload that prevents us from truly engaging with the ideas and the humour of the piece.

On a positive note, songs in Flat Earthers are consistently enjoyable. Produced by James Gales and with musical direction by Jude Perl, each number is wonderfully rhythmic and often unpredictable, with choreography by Fetu Taku enhancing the imaginative quality and the pop sensibility of these modern showtunes. Singing is generally of a strong standard, with Manali Datar and Shannen Alyce Quan bringing admirable precision to their portrayals of lesbian lovebirds. It is worth noting that the unapologetic depictions of sapphic desire in Flat Earthers address a much needed queering of an art form, that although beloved by queers, rarely centres our identities in stories that routinely deny our right to take focus.

Set design by Brockman creatively incorporates the production’s need for projection screens, although occasionally unwieldy for performers as they enter the stage. Costumes by Emma White are as appealing as they are amusing, able to represent characters with accuracy, whilst maintaining a comical approach. Lights by Brockman are astonishing in their richness and intensity, in a show that is never for a moment, restrained in any way.

In a world where people believe that politicians can inflict hurricanes on battleground states at election time, and where patently and unabashedly evil individuals become presidents by manipulating media consumption of the populace, the business of information propagation is a seriously dire situation.  All of our history demonstrates that humans will trust in all manner of bizarre propositions, many of which have led to death and destruction. Also true of our nature, is that we never stay the same, and this too shall pass.

www.hayestheatre.com.au | www.griffintheatre.com.au

Review: New Works Festival Part 3 (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW)

Champions Oct 11 – 26, 2024
Playwright: Isabella McDermott
Director: Bali Padda
Cast: Cat Dominguez, Talitha Parker, Lincoln Vickery, Bayley Prendegast
Images by Patrick Phillips

Fuccbois: Live In Concert Oct 11 – 26, 2024
Book, Music and Lyrics: Bridie Connell
Director: Jessica Fallico
Cast: Gabbi Bolt, Bridie Connell, Orya Golgowsky, Clara Harrison, Megan Walshe 
Images by Leanne Ansell

Theatre review
The two stories in part 3 of the Old Fitz Theatre’s New Works Festival involve separate groups of four artists and their respective relationships with integrity. Isabella McDermott’s sophisticated Champions looks at the effect of a $50,000 prize, when art becomes a competitive sport. In Bridie Connell’s rambunctious Fuccbois: Live in Concert, it is the competitive alpha male that adopts the art of performance to satisfy his narcissism. 

A contemplative work, Champions is directed by Bali Padda who brings commendable sensitivity to a play brimming with engaging nuance. For Fuccbois, it is Jessica Fallico’s mischievous direction of raucous drag kings that leaves an impression. There is a slight deficiency in terms of dramatic escalation over the duration of both shows, but Padda and Fallico certainly prove themselves accomplished, albeit in wildly different styles.

A simple set design by Elle Fitzgerald converts the space to allow for greater versatility. Tim Hope’s lights are marvellously dynamic for Fuccbois but are perhaps overly sombre in Champions. Costumes by Rita Naidu for Champions and Lily Moody for Fuccbois are all similarly appropriate for each of the characters we encounter. Sound design by Prema Yin for Champions is particularly noteworthy, intricate in approach and effective with the vigour it provides.

The cast for Champions is very strong; Cat Dominguez, Talitha Parker, Lincoln Vickery and Bayley Prendegast play visual artists negotiating a suddenly intensified work environment, remarkable for the distinct qualities they deliver, as well as a sense of authenticity they imbue in the storytelling. For the faux arena concert of Fuccbois, Gabbi Bolt, Bridie Connell, Orya Golgowsky, Clara Harrison and Megan Walshe manufacture an electric atmosphere, gratifying with their pointed commentary on commodified masculinity, but unfortunately lacking in crispness with their highly stylised presentation.

Even when art loses all of its truthfulness, when having to accommodate all manner of economic considerations, it can still reveal something worthwhile, if only we commit to its decipherment. Bad art however is determined to discourage analysis, and have us accept its deceptive surface. In other words, bad art trades in obfuscation and lies. No person can claim to be insusceptible to artful trickery, but it is in the willingness to talk to one another, that we can discover bigger truths, about the messages we are being sold. 

 ww.oldfitztheatre.com.au | www.littlegoat.com.au