5 Questions with Sapna Bhavnani and Faezeh Jalali

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Sapna Bhavnani

Faezeh Jalali: If you were a book which one would you be and why?
Sapna Bhavnani: A few years ago my god daughter handed me a book and said “look Sapna, this is you.” On the cover was an illustration of an inked woman and her 2 daughters. The book was The Illustrated Mum by Jacqueline Wilson. I read that book in half an hour and cried through most of it. More than the mom, I related to the stories of the daughters. And as cliché as it sounds, being an inked woman myself, I cannot think of another book I would rather be. And maybe, just maybe, because I haven’t read any other book since Nancy Drew and Famous Five. Don’t you judge me!

What gives you great joy and what is your greatest frustration?
Yoga. In my recent years of practice, I have started journeying inwards more that outwards. It’s one of the most challenging things I have ever done. The process of being true to yourself at every moment and working towards the ability to witness joy and pain equally, with the same level of non-enthusiasm is my new high. The process of stepping out of my body and witnessing myself as a third party in the room is my new theatre.

You created the character of the old woman in the play Jatinga. What inspired you to write her and what about you is similar to the old woman?
We are all born old. We carry with us stories and burdens from previous lives. We carry guilt and shame from current lives. We carry ambitions and hopes to the future lives. And the circle continues. Age does not have a gender or an age. So yes, Sapna is similar to the old woman. But so is Faezeh, and Suzanne, and every member of the cast regardless of the burden of gender or nationality.

How many tattoos do you have? Tell the story of one of them.
Only an amateur counts the number of drinks consumed. I am an alcoholic.

Sapna means dream- what is/are yours? (I’ll make this hard by asking you to describe it as a fairytale)
I’m constantly in a lucid dream space. I have 7 imaginary friends, all called Alice and 5 mannequins also all called Alice. It’s the way I call their names that distinguishes one Alice from the other. We all live happily ever after in a one-bedroom apartment in Bandra, Bombay with 3 cats and 45 plants. Our most favourite thing to do is take a road trip to our farmhouse 3 hours outside Bomaby to visit the 3 other Alice’s that live there with 4 cats and 89 trees and a gazillion flowers. As you can see it’s an ongoing fairytale and keeps on getting more magical with each passing moment or should I say with each passing Alice.

Faezeh Jalali

Sapna Bhavnani: What keeps you ticking in the theatre world after so many years?
Faezeh Jalali: Experimentation and the desire to take risks and tell stories that are important to me. I won’t take on a play that doesn’t excite me because I won’t be able to create it truthfully. I enjoy the creative process and making theatre that pushes boundaries comfort zones, physical and intellectual limits. Theatre that is socio-political, that is relevant to our current times. I wouldn’t be happy doing living room dramas and probably would do a shoddy job of those.

How did you prepare for Manda?
I think the process is organic. I think the character is in the writing and in the work done with other actors right from the first development/audition. For me the character comes alive on the floor in the body, not from writing notes or thinking too deeply about it. The playwright gives you the most information and I take that and fly…

What is the next project seeding in that wonderful brain of yours?
Several. I’m writing a new play, I guess you could say some sort of a musical satire about religion, godmen/godwomen/religious heads. I want to do one physical piece based on Mumbai life. I have written small sections of action but would need to string those together. I want it to be a circus piece actually. And a couple of others, that other writers will write or have written.

If there is another profession you could be in, what would that be?
As a teenager I wanted to take revenge on my dentist so I did take pre-medical with theatre, in undergrad. But then I imagined myself doing that and it bored me. So it didn’t work out. There was a phase when I thought I’d be a physicist. That fizzled out. Currently I think some sort of chef.

Are you sure you’re not Kashmiri?
No, I’m sure I’m not Kashmiri or should I say yes I’m sure I’m not Kashmiri. I’m a citizen of the planet (she said cheesily).

Sapna Bhavnani and Faezeh Jalali can be seen in Jatinga by Purva Naresh.
Dates: 9 – 24 June, 2017
Venue: Kings Cross Theatre

5 Questions with Kate Bookallil and Rupert Reid

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Kate Bookallil

Rupert Reid: What attracted you to the role of Alice and the play originally?
Kate Bookallil: I really admire Alice’s stillness and dignity. I don’t want to give too much away, but Alice is surprising and I love her because she knows who she is and has a lot of self respect.

I was attracted to the play because it makes me laugh at, question, contemplate, challenge, bask and despair in all that makes us fallible human beings. The writing is witty and direct, playful and confronting. Penelope Skinner has written a play with women at the centre, but it is also a play about men and society at large and how we will choose to move forward.

In what ways do you relate to your character and differ?
There are many parts of Alice’s story that align closely with my life. Of course, there are many differences too. In terms of character, I would say that I am envious of an aloof quality that Alice possesses that I have never been able to achieve, no matter how hard I have tried. I am all open book and Alice is far more contained than I am!

Why does Oliver describe Alice as “not unstable… sensitive”
Alice would not want to be described in such a way and does not see herself like that… I think that’s a question for Oliver! Alice is trying to conceive a child, so she’s under a certain amount of pressure… let the audience decide why Oliver would describe his wife in that way!

What kind of experience do you think will people have watching The Village Bike?
I think The Village Bike will be a great conversation starter. Hopefully it will encourage the audience to step up and decide if we are happy with the place of women in our society and if not, what are we going to do about it? I have three children and I can’t help think about them and the digital world they will become teenagers in and my role in helping them navigate their way through the matrix. Hopefully the audience will enjoy themselves too, as it is a really funny play! Come in a big crowd and see where the discussion leads afterwards!

Have you ever combined apple with peanut butter? If not, are you serious!? Why not??
Of course! I love apple and peanut butter together. I also love peach and feta. Vegemite and cheese. Lemon and sugar. Gin and tonic.

Rupert Reid

Kate Bookallil: What attracted you to the role of Oliver and the play originally?
Rupert Reid: His sense of fun and disregard for social norms which are both important thematically to The Village Bike. Oliver is a fascinating exploration of how subtle (and not so subtle) language we take for granted can be used to manipulate and control. What attracted me to the play was the ease and economy of the writing. Ms Skinner has asked us to challenge our preconceived notions of womanhood, motherhood, manhood and sexuality in one fell swoop while maintaining darkly comedic tone that intensifies to the last moment of the play.

What does the bike mean to Oliver?
Sex

Do you have a favourite line in the play and if so, why?
John’s line ‘Let’s put these bitches away’. (or something close to that). It’s just so wrong. Brilliantly out of left field in the moment it’s said and both hilarious and shocking in the same breath.

What does a perfect day off look like for Rupert?
Run, swim and about 4 hours of guitar playing.

Who should come and see The Village Bike?
Everyone. Except my parents. It’s a bit raunchy.

Kate Bookallil and Rupert Reid can be seen in The Village Bike by Penelope Skinner.
Dates: 7 June – 8 July, 2017
Venue: Old Fitz Theatre

5 Questions with Thomas Campbell and Jane Phegan

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Thomas Campbell


Jane Phegan: What attracts you to Enda Walsh’s writing? Misterman is the second play of his that you have performed.
I love Enda Walsh’s plays and characters because I pick up a script of his and have no idea where to start and that excites me. There’s a consistent theme through most of his plays where his characters are searching for love so there’s a deep truth to them. Added to that, he uses extraordinary language and word play so it’s a delight and a challenge to speak his words. He’s effing brilliant.

Why do you want to take this work or work in general to the Edinburgh stage?
Edinburgh Fringe has always been a bit of a bucket list thing for me but it’s a very expensive exercise so seemed like a bit of an impossibility. When we took Misterman to Hobart last year and had a mini tour experience, Hartley, our lighting designer, suggested we look at going to Edinburgh so we started to put the wheels in motion. Also, Misterman is just a great showy piece for all of us and then I thought I should take my comedy piece, One Hander, as well. Why not?

What inspired you to write and perform One Hander?
I was living in London, having my UK ‘experience’, pretty depressed and artistically deprived. I’ve always had these stories about people’s reactions to my hand, or lack thereof, which have been great dinner party fodder. So at about 3am one morning, after my 10th episode of Real Housewives of Beverly Hills, I decided to get off my arse and face a fear and do a stand up comedy open mic night. I started writing, did the open mic night, and a month later I did a full hour show at the Battersea Barge in London. That’s where it began.

Like myself, you have worked with Kate Gaul several times – what keeps you coming back for more?
Kate Gaul is a genius. She’s unbelievably hard working and has such rigour to her work. She’s constantly asking questions of herself and her creatives right up until the show closes. She always asks ‘what is the story we are telling?’ which seems like basic question but it’s the most important and tends to get forgotten in a lot of productions I see. She’s also not afraid to be ‘direct’ as opposed to ‘polite’ in a rehearsal room which I respond well to and believe it’s a short cut to the best work.

What’s your favourite musical?
I love musicals but my favourite changes daily depending on the mood I’m in. Today it’s probably my old favourite, Into The Woods, because I remember getting a VHS copy of the OBC production with Bernadette Peters, when I was about 13 and watching it 4 times back to back in the one day. It was the first musical I saw that showed they didn’t have to just be frothy and shiny but could have cracking acting as well. I’m also a little bit obsessed with Dear Evan Hansen at the moment- I have a dodgy bootleg copy- but I’m yet to work out if it’s just Ben Platt’s performance that is the extraordinary thing or the show or both.

Jane Phegan


Thomas Campbell: Tell me about the play and your role?
It is a beautiful piece by Noelle Janaczewska that takes the audience on a wild adventure down the Amazon, a long dreamed of destination, and through the history of that part of the world. At the same time the character is coming to terms with her father’s illness and exploring their relationship which centres around a shared love of literature. They are both venturing into other worlds and the unknown. It is in turn a poetic, funny and, as Ben Neutze described, “ultimately heartbreaking piece of theatre”.

What’s it been like to revisit a role for the second time?
I am just beginning to revisit the role and Noelle has made some minor edits – that is one of the brilliant aspects of being able to do a piece more than once – the ability to refine and go further. I hope to do the same with the performance! I’m looking forward to going back into the world of the show and finding new gems with a sense of knowing.

Are you nervous about taking your work to the Edinburgh Fringe Festival?
Of course!! What a loony thing to do! It’s bad enough taking to the stage on your own in Sydney let alone in front of an international audience. But that is what we do, is it not? Move toward that which scares us the most. Now I’m really nervous – thanks Tom!

What’s Kate Gaul like as a director?
I have worked with Kate a number of times now and that is because I trust her 100%.That trust extends to both the bigger picture and also my performance. Because of that I can push the boundaries of what I think is possible (and be pushed!) and know that she will never let me (or her) look foolish or the show be under par. She is imaginative, forthright, assured, switched on and fun. I admire her drive and Kate is such an intelligent director, in tune with the work and only taking on what she is truly inspired to bring to life.

How are you travelling with a group of misfits like myself?
Actually travelling? By plane. Maybe a train here and there. And I hope we can walk to the venue! How am “dealing” with the group of misfits? I am one! We’re going to have a ball and we get to showcase some Australian work on the international stage. Super excited.

Tom Campbell and Jane Phegan are in Siren Theatre Company’s Edinburgh Program season of Misterman, Good With Maps and One Hander.
Dates: 14 – 18 June, 2017
Venue: Belvoir St Theatre

Review: How To Build A Home (Ever After Theatre)

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Venue: Balmain Uniting Church (Balmain NSW), Jun 1 – 3, 2017
Contributing Writer: Emily Dash
Directors: Natalie Rose, Alice Osborne, Marnie Palomares
Cast: Kerrie Ann Bezzina, Christine Blanche, Matthew Cutmore, Emily Dash, Glennen Fahey, Sophie Grivas, Tom Hancock, Emma Plant, Roddy Salinas

Theatre review
The idea of a dream home is explored by differently abled performers in How To Build A Home. An opportunity for all to reflect upon concepts such as personal limitations and aspirations, social obligations and privacy, the often abstract work may leave a lot to our imagination, but there is no mistaking the statement it makes about the importance of security and care that we all need in order to have fulfilling lives.

The show is full of spirited whimsy, with an enthusiastic cast offering up vim and vigour, along with a genuine vulnerability that is quite captivating. A collaborative segment featuring Emily Dash reciting a poignant monologue, alongside Tom Hancock on piano establishing an atmosphere of sombre drama, is beautifully, and hauntingly, rendered. Also memorable is Sophie Grivas’ idea of a house with three disco rooms, reminding us that our bodies, whether moving or stationary, are to be loved and pampered.

Visual design by Mirabelle Wouters, and James Brown’s work on sound and music, give the production an excellent sense of polish. The space they have created is glamorous yet unpretentious, a homely environment we find to be simultaneously comfortable and inspiring.

As long as we are alive, every individual has a right to space, and that space must be treated with respect. The home is both mundane and sacred, and recognising it as such, encourages us to honour every breath taken and every second that ticks past. Life is too short for any of us to be perfunctory about the time that we have been gifted. When we realise that every here and now is special, each moment experienced, and its corresponding place, has the possibility to nourish and fulfil, as though always at home, sweet home.

www.everaftertheatre.com

Review: An Unseasonable Fall Of Snow (Ewan Productions)

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Venue: The Actors Pulse (Redfern NSW), May 30 – Jun 3, 2017
Playwright: Gary Henderson
Director: Giles Gartrell-Mills
Cast: Alex Ewan, Nico Papademetriou, Randall

Theatre review
The setting looks like an office, for lawyers or the police perhaps, but we never really find out where Arthur and Liam actually are, as we witness the aggressive interrogations taking place. Gary Henderson’s An Unseasonable Fall Of Snow involves two deaths, a mystery that takes the form of an intriguing puzzle, challenging its viewer to discover its secrets before everything is laid bare at the end.

Director Giles Gartrell-Mills orchestrates an enjoyable ride, luring us into the enigmatic qualities of the play with a quiet elegance. Sound and lights are underutilised, so we are not quite spellbound by its flirtations with the supernatural, but the plot is nonetheless effectively relayed for an engaging hour of theatre.

Arthur is played by Nico Papademetriou, who makes us believe that there is always more being hidden away, a convincing mastermind of sorts, and we need to know all the cards that he holds close to his chest. Alex Ewan is impressive as Liam, volatile yet operatic in his portrayal of a young man deep in trouble. It is a performance thoroughly considered, and boldly executed, leading to a result that illustrates some of the more obscure facets of human nature, while providing an exciting sense of high drama to the piece.

When snow falls in springtime, nothing is quite what it seems. We wish for life to adhere to expectations, but the forces in control of existence are far greater than any individual’s volition. If we find ourselves walking into a blizzard, when all we had wanted was a garden of green, there is no changing how nature wishes to be, and we must look to our desires for answers on how the inside can be in harmony with outside.

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Review: Only Heaven Knows (Luckiest Productions)

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Venue: Hayes Theatre Co (Potts Point NSW), May 26 – Jul 1, 2017
Music, Book, Lyrics: Alex Harding
Director: Shaun Rennie
Cast: Mathew Backer, Blazey Best, Tim Draxl, Ben Hall, Hayden Tee
Image by Robert Catto

Theatre review
Tim and Cliff’s love story begins in 1944, probably the most dangerous of times for gay men, with many impounded in European concentration camps, and the rest of the world correspondingly paranoid and cruel in their treatment of homosexuality. Alex Harding’s Only Heaven Knows remembers queer life in mid-20th Century Sydney, and the resilient community that persisted to thrive, with a dignified integrity, in the face of unrelenting and brutal persecution.

It is the subplots that captivate. Minor characters who chronicle struggles of a traumatic past, retain their pertinence, proving themselves more resonant than a central romance that seems unremarkable by comparison. The work is flamboyantly sentimental, but is only occasional moving. We are engaged instead by its textual complexity, seduced by an opportunity to analyse its sociopolitical connotations and to examine the degrees of relevance its narratives continue to hold over our existence today.

Production design attempts to address the frequent changes of settings, but scene transitions can often lack elegance. Performers take awkwardly long walks before finding the stage. Entrances and exits notwithstanding, the show is sensitively brought together by director Shaun Rennie, with a warm sincerity that elevates a slightly dated play from 1988, to something that is strikingly urgent. The ghost of Lea Sonia, a drag queen character, has the freedom to travel through time, to make references about marriage equality, and Grindr, so that history is resurrected for good reason.

There are marked divergences in terms of singing ability, but the cast is surprisingly cohesive. In the world of musical theatre, scene-stealing show-offs are almost encouraged, so it is a rare treat to be able to adore every performer equally. Matthew Backer is impressive with the thoroughness of nuance he introduces to all his roles, and is truly unforgettable in a scene that brutally portrays the experience of electroconvulsive therapy inflicted upon “sexual deviants” of the time. Blazey Best and Hayden Tee are excellent with their comedy, both actors sharp and confident, while adhering to the subtle tones of the production. The lovebirds, played by Tim Draxl and Ben Hall, are tender and effortlessly convincing, making the most out of fairly colourless material.

It is important that young ones know our queer histories, and it is important that love stories are made for people who identify differently from the mainstream. In 1944, queer folk had few past lessons to draw upon, and nothing in the future that they could look forward to. Only Heaven Knows allows us to grow with the knowledge that people had been through worse, but things keep getting better. It also serves as reminder the depth of depravity that societies are capable of, and that a sense of moral vigilance must never be taken lightly. The game of endless persecution may shift its focus away from one community to another, but those who had suffered must not be complacent in their newfound emancipation, but continue with a resistance against senseless violence and oppression.

www.hayestheatre.com.au

Review: 2071 (Seymour Centre)

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Venue: Seymour Centre (Chippendale NSW), May 26 – Jun 10, 2017
Playwrights: Duncan Macmillan, Chris Rapley
Director: Tim Jones
Cast: Lucy Brownlie, John Gaden, Heath Jelovic, Ellery Joyce, Jacqueline Morrison, Sasha Rose, Matthew Simmons

Theatre review
In 2071: a performance about climate change, we have to listen closely to a lesson about the science of our climate. There are projections to look at, and children forming occasional tableaux to help illustrate the point, but it is only the words that we should pay close attention to. Clearly a very serious matter, and for those of us less keen on scientific study, the details are challenging. It is an issue that requires tremendous focus, but when we invest, with determination, to hear what is being said, 2071 is undoubtedly rewarding.

Essentially a monologue, the writing feels no different from a lecture, dense with facts and evidence. The layperson would struggle to absorb every sentence uttered, but there will certainly be pertinent points that resonate for each individual who is present. It contains no surprises, but the production does communicate a sense of urgency to drive home the message. Music by Andrée Greenwell, and actor John Gaden’s delivery, are responsible for the hastened air of impulsion at conclusion.

The science points to an impending ecological disaster. Whether or not one wishes to accept the causes that lead to this state of devastation, every citizen of the world must commit to improving the conditions in which we have to live. Only the most masochistic and nihilistic will choose to persist with the status quo, but it must surely be a very small minority that wants to watch everything come to a painful ruin. Now is the time to be fearful of complacency and inaction.

www.seymourcentre.com

Review: The Wind In The Underground (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), May 23 – Jun 3, 2017
Playwright: Sam O’Sullivan
Director: Lucy Clements
Cast: Michael Abercromby, Rowan Davie, Whitney Richards, Bishanyia Vincent
Image by Rupert Reid

Theatre review
Wanderlust is meaningful only to those who understand that irresistible urge to travel. Simon returns home from a long trip away, and has to explain to his siblings why he had left them. There is resentment, and a lot of discontentment at home, but the love is nonetheless palpable. Sam O’Sullivan’s The Wind In The Underground is about seeing the world, but all the action lies within a domestic setting. The four characters are a volatile group, but they are not fragile. They fight only because they will always be able to reconcile.

There is little in terms of a compelling narrative that we can hang on to, and dramatic tensions are intermittent, but a superb cast enchants with their extraordinary chemistry. The actors share family secrets that we are only partially privy to. Its characters struggle with disclosures, but the performances leave no room for doubt that something deep and real underpins the exchanges we see on stage. It is a feeling we are all familiar with, and the remarkable talents represent it with an admirable accuracy.

Some people are comfortable with a parochial existence, but others need to explore further afield. This does not have to be about the physical movement that takes place. Our minds are all-powerful, and our beings can be transformed, as long as we wish to seek something higher. The play is about travel, and evolution. For those of us who can sail the seven seas, we will grow that way, but for those who prefer to stay home, every work of literature and art can provide the key to expanding life, far beyond the walls that try to hold us in.

www.oldfitztheatre.com

Review: This Is Not Mills And Boon (Glorious Thing Theatre Co)

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Venue: Old 505 Theatre (Newtown NSW), May 23 – Jun 3, 2017
Playwright: Erica J Brennan
Director: Richard Hilliar
Cast: Alison Bennett, Emma Chelsey, Gabe Fancourt, Lynden Jones
Image by Liam O’Keefe

Theatre review
When we first meet Abby, she surprises us with her prudishness. We think of sex as being universally appealing, and in this day and age, talking about sex is certainly de rigueur, if not interminable, so we wonder what problems Abby is struggling with, that makes her so uncomfortable with the topic.

The story unfolds as Abby begins reading, in secret, a collection of erotic stories. Written by her boyfriend’s mother, Nikki Sex’s book is titillating and wild, but also deeply cheesy and frequently nonsensical. We watch as the far-fetched tales begin to unravel the riddle surrounding Abby’s mystifying sexual nature.

Erica J Brennan’s This Is Not Mills And Boon is a smart, ambitious piece that deals with a young woman’s sexual awakening, or more accurately, it is about Abby’s self-discovery beyond the indoctrination and traditions that our young are subject to. There is good attempt at depicting sexuality as being individualistic and idiosyncratic, and hence, a fundamentally deviant feature of what we consider to be human nature, but Brennan’s characters remain bound to an ideal of monogamy and heteronormativity, which prevents the play from foraging deeper into its philosophical interests, thus losing an opportunity to be truly subversive, or edifying, with its declarations.

Director Richard Hilliar introduces a wanton sense of humour to fantasy sequences that makes the show very enjoyable, but a tendency to be overly earnest with our protagonist’s central predicament, can make its naturalistic scenes needlessly severe. Abby needs to lighten up, as does the show.

Funny lady Alison Bennett delivers laughs in all of her extravagant guises. Sharply intuitive, and wonderfully campy, it is a very bawdy performance that pushes all the right buttons (look out for some physical work featuring Bennett’s extraordinarily dexterous tongue). Also very comedic is Gabe Fancourt as the endearing boyfriend Sol, whose unabashed approach to the portrayal of sex object, is as refreshing as it is hilarious.

Although Emma Chelsey’s interpretation of a plain and reserved personality can often feel too literal and hence lacklustre, her Abby is dignified and honest, with a sincerity that makes the whole exercise convincing. The troubling relationship between Abby and her father is a crucial part of the narrative, and Lynden Jones is strong in that role. His lines are perhaps not written with sufficient elegance, but Jones demonstrates excellent conviction even when the dialogue turns precarious.

The show makes fun of “Fifty Shades Of Beige”, but is itself shy with its own interrogations. It may not be Mills and Boon, but it is certainly no Marquis de Sade either. There is a naivety in how it thinks about sex, but its fervent need to reject convention in favour of a self-determined experience of sexuality and of identity, must be celebrated.

What makes each person feel good, is rarely the same, but what makes us all the same, is the need to discover the truth that lies within. It is human to want to poke and prod, to find something that feels resolutely at the core of our existence. Whether through art or through fucking, we can get to the thing that resides deep at the centre, that holds the meaning of life.

www.gloriousthingtheatreco.com

Review: Talking To Terrorists (Emu Productions)

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Venue: King Street Theatre (Newtown NSW), May 23 – Jun 3, 2017
Playwright: Robin Soans
Director: Markus Weber
Cast: Mathew Costin, David D’Silva, Kira Fort, Zuzi Fort, Tiffany Joy, Alyson Standen, Kyle Stewart, Joseph JU Taylor, Markus Weber
Image by John Keenan

Theatre review
Robin Soans’ Talking To Terrorists premiered in England just 3 months before the London bombings of 2005. Disasters seemed to strike like never before, and we tried desperately to understand the rapidly changing world, post-9/11. The play investigates the psyche of those touched by horrific events, from perpetrators, to hostages and politicians. Composed largely of interviews with people who had experienced those states of trauma, this work of verbatim theatre opens up discussion about the most pertinent of subjects today. We examine the motivating factors behind these unimaginable atrocities, and in the process of seeing extremists as people, we gain knowledge that had been previously hidden. Humanising evil allows us to gain insight into what was once beyond comprehension.

A wide range of personalities take to the stage, but the production does not always make clear, the identities of all its characters. The confusion that arises does not help the show’s cause. The actors offer glimpses of poignancy, but can be impeded by their emphasis on creating cosmetic impressions, rather than always finding resonance through the very meanings of what they say. Actor Alyson Standen is the most consistent of the group, demonstrating conviction in all of her four roles, and through her enactment of emotional accuracy, we are able to access the truths in what her scenes attempt to communicate. There is no lack of passion in the cast, but their approach requires more detail, and greater nuance, so that we obtain something richer, a result that feels less surface.

As long as we regard terrorists as animals and monsters, we will never be able to convince them of our perspectives. If we can only think of them as absolute enemies, we will never be able to convert them to our way of life. When people are shut out, excluded and ostracised from our existence, then our security means nothing to them. Terrorists will continue to cause us harm, if they know nothing of us. In humanising the foe, we can both begin to see ourselves in the other, and so it is only in the talking that we can hope for a change.

www.kingstreettheatre.com.au