Tag Archives: play

Review: Hamlet (Bell Shakespeare)

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Venue: Sydney Opera House (Sydney NSW), Oct 27 – Dec 6, 2015
Playwright: William Shakespeare
Director: Damien Ryan
Cast: Philip Dodd, Ivan Donato, Robin Goldsworthy, Josh McConville, Julia Ohannessian, Sean O’Shea, Matilda Ridgway, Catherine Terracini, Michael Wahr, Doris Younane
Images by Daniel Boud

Theatre review
Director Damien Ryan’s rendition of Hamlet takes place in mid-20th century Denmark, with surveillance technology, airport last call announcements, and broadcasts of royal weddings. The prince is deeply upset by the death of his father, and by his mother’s very quick remarriage, but within this modern context, his very well known nervous breakdown seems to also involve the pressures of nobility as we understand them today. Our memory of Diana, Princess of Wales persevere, and the way she had been spoken off as having gone out of control, serves as a parallel to this Hamlet.

Ryan’s ideas are refreshing and plentiful. They can be meaningful, or merely ornamental, but his work is invariably engaging. In our age of collective attention deficit disorder, the production’s ability to retain our interest for over 3 hours is remarkable. Every scene is energetic, whether poignant, comedic, or transitory, Ryan finds a way to deliver entertainment and a quality of intrigue regardless of the text’s intentions. This is excellent directing, that has given rise to a show that can captivate even the most cursory of Shakespeare’s fans. Visual design contributes significantly to its pleasures. Alicia Clements’ versatile set produces dimensions on the stage with minimal fuss, and lighting designer Matt Cox’s nightmarish atmosphere administers a mesmerising effect that takes charge of our gaze.

In its efforts at bringing a newness to Hamlet, it might be argued that some dramatic tensions are unfortunately lost from the plot. The significant subdual of King Claudius’ villainy, along with the decision to play Queen Gertrude as an innocent, might be politically correct moves, but they take away from the power struggles that provide a certain spiciness to the admittedly clichéd foundations, especially in its first half. Nevertheless, the sophisticated and measured performances of the entire cast are enjoyable, and thankfully, easy to follow.

Josh McConville’s interpretation of the title role is a dynamically ranging one that exhibits a daring freedom eager to explore and experiment. McConville is powerful with all that he presents, playing comedy and tragedy equally well, but the distinction between both can appear too drastic. We understand the subject of madness involved, but it is debatable whether consistency of character can be improved in his expression of Hamlet’s state of mind. Ophelia is played by Matilda Ridgway, who shakes off the personality’s obligatory tweeness over the course of the play and puts on an impressive display of sorrow and rage in her concluding moments, for some of the most passionate and compelling scenes of the production. Philip Dodd is memorable and disarmingly funny in his parts as Polonius and Gravedigger. The actor’s confident and nuanced comic timing is a necessary element that helps with the show’s buoyancy, effectively preventing any monotony from setting in.

Revenge speaks to our base desires. A hallmark of advanced societies is the rejection of capital punishment, yet stories about vengeance resonate with no trouble at all. In Hamlet, revenge is a cancer that destroys from within. Its effects are contrary to the emotions that guide it. When enacted, the only ones who win are those from the outside, uninvolved in the eye for eye narrative. It is a profound lesson, one that is deeply, and appropriately for this text, Christian. To forgive and forget is an ideal that is unthinkable for many, but probably the only alternative to our prince’s tragic demise.

www.bellshakespeare.com.au

Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare
Hamlet 2015 Bell Shakespeare

Review: Project #Oüahn (Baühs)

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bauhsVenue: 46 Foveaux Street (Surry Hills NSW), Oct 21 – 26, 2015
Playwrights: Gabriella Imrich, Christina Marks, Eliza Scott
Director: Christina Marks
Cast: Gabriella Imrich, Eliza Scott
Image by Diana Popovska

Theatre review
On stage are two young women, best described as anxious and frustrated. They speak in symbols, and their art is abstract. What they do is rarely explicitly named, perhaps to avoid things becoming undermined by convenient labels that can never completely address their thoughts. Instead, what we have is a series of physical and verbal enunciations that provide unmistakeable visceral sensations and clear indications about the way we experience our bodies, the construction of identities, and the political forces that dominate and disenfranchise. Project #Oüahn is a subversive work about subversion. The work aims to challenge, and because of our inevitable participation in prevalent ideologies, we do find ourselves in uncomfortable spaces in its 60-minute duration. It is hard to tell if the piece communicates universally, but its intention is not to create an “us and them” dynamic with its microcosm. There are moments of division, but its interest is ultimately about self-determination and self-empowerment. Its message is one of independence, but also of love, even if much of its language is militant and tough.

We do not find a conventional narrative structure, but the two actors Gabriella Imrich and Eliza Scott begin by setting up a visual reference to the madonna-whore complex. Their surfaces appear to be different as day and night, but as they wage war and undertake torment on each other, we soon discover that they are two of the same. It is a representation of the internal dialogues that we have and the socially complicit nature of how we monitor and police our own thoughts and behaviour. There is a precision to the performers’ motivations, that makes sense of the work’s abstractions in spite of their deliberate ambiguity. Chemistry between Imrich and Scott is flawless, and the production forges ahead with a confidence that is assertive and powerfully convincing. Christina Marks’ direction balances mystery and revelation, for a show that intrigues at every point, but is satisfying throughout. Sound design by Enola Gay is to be noted for adding a sophisticated yet dramatic dimension to proceedings.

The final section of the production is as memorable as any theatrical moment can hope to be. A mesmerising sequence that expresses divine beauty and tranquil strength, embodying an affirmation of life, lived with wisdom and courage. The art that we make is never worth more than when it is progressive. Project #Oüahn is a selfless exploration into the meaning of freedom that will touch anyone whom it is able to connect with, but freedom, like all that is worthwhile, will only discharge its magical prowess for those who know to receive it.

www.bauhsbauhsbauhs.com

Review: Dead Centre | Sea Wall (Red Stitch Actors Theatre)

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redstitchVenue: Old Fitzroy Theatre (Woolloomooloo NSW), Oct 20 – Nov 14, 2015
Playwrights: Tom Holloway, Simon Stephens
Director: Julian Meyrick
Cast: Rosie Lockhart, Ben Prendergast
Image by Jodie Hutchinson

Theatre review
The more we hurt, the more difficult it is to find expression for our internal struggles. We compartmentalise pain, and with time, become more adept at denying their existence, but their effects do not fade. Tom Holloway’s Dead Centre and Simon Stephens’ Sea Wall are two half hour monologues that deal with sorrow and depression. We encounter the protagonists in traumatic states, and see them fumbling through life trying to find a way out of their anguish. Holloway’s piece is vividly descriptive, with evocative fragments that softly, but actively, fire up our imagination. Stephens’ work is equally poetic, but takes a completely different tone. Focussing on the grieving process, he uses the difficulties in articulating painful experiences as a basis for the text, and creates a quiet work that escalates suddenly at the end to deliver a powerful revelation.

The two pieces are presented one after another, but visual elements suggest an entwinement between both stories. Design of the production is understated, but elegant and sensual. Matthew Adey’s lights and Katie Cavanagh’s video projections, along with Ian Moorhead’s sound design, establish an understated but concentrated atmosphere in which the actors offer their very delicate tales. Direction by Julian Meyrick gives a beautiful cohesiveness to the two halves, with a sensitive approach that highlights the similarities between each character’s experiences. We witness the fragility in our humanity, and realise the importance of accepting and understanding the weaker moments of our personal lives.

Rosie Lockhart plays Helen in Dead Centre, fleeing England for Uluru, in search of an answer to her indescribable troubles. The actor’s engaging presence grips us from the start, but it is her ability to communicate a wealth of emotion with a seemingly minimal mode of performance that truly impresses. Helen never tells us what her problems are, but Lockhart leaves us in no doubt about the depth of her torment. Also remarkable are the flashes of humour that emerge, brief but effective, and key to installing a solid connection between actor and audience. Alex in Sea Wall is played by Ben Prendergast, whose portrayal of loss and bewilderment resonates with an intimate familiarity. The evasiveness and fear of sentimentality that he exhibits is a perceptive interpretation of how we deal (or do not deal) with immense emotions, but concluding moments see outbursts of intensity that appear too suddenly, and we question the accuracy of those dramatics.

Catharsis frequently occurs through the artistic process, but not usually at the same degree for all involved. Artists can indulge boundlessly in their excavations of private feelings, but the inspiration brought to their audience must not be ignored. In Dead Centre | Sea Wall, emotions run high, but they tend to stay safely on stage. The poignancies that it imparts are muted, but they are also real. We do not get embroiled too closely with Helen or Alex, but we study them intently and learn about the nature of suffering. The stories are theirs, but the way they help us explain and comprehend life, becomes universal.

www.redstitch.net

Review: Blood Bank (Ensemble Theatre)

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ensembleVenue: Ensemble Theatre (Kirribilli NSW), Oct 16 – Nov 22, 2015
Playwright: Christopher Harley
Director: Anthony Skuse
Cast: Meredith Penman, Gabrielle Scawthorn, Tom Stokes
Image by Clare Hawley

Theatre review
At a hospital, death is everywhere, but characters in Christopher Harley’s Blood Bank experience life while the palpable presence of time hangs over each of their heads. The script is tender and sensitive, with humour always close at hand in its explorations into our darkest moments of illness. It is an imperfect script, with dubious relationship dynamics and a plot structure that requires further refinement, but each scene is charming, and beautifully rhythmic. Its themes keep the play firmly in a space that is thoughtful and profound. We can all relate to the narratives that unfold; whether light or heavy, its ideas appeal to our deepest feelings relating to the biggest of concerns, love and death.

Blood Bank is a consistently engaging work, buoyed by strong performances. Gabrielle Scawthorn is powerful at both ends of the emotional spectrum. She is an effective comic who identifies every opportunity for laughter, keen to bring a joyous energy to the stage, and does not hesitate to plunge into her character Abbey’s guilt and grief, with a resonant authenticity that can be quite touching. Her counterpart Tom Stokes takes a more subtle approach, but is no less convincing in his portrayal of psychological truths. The part is a sorrowful one, and it is to the actor’s credit that there is little self-indulgence to be found. Instead, Stokes’ honest interpretation creates moments of poignancy, and establishes a brilliant chemistry in the cast that is often the highlight of the production. Director Anthony Skuse magnifies all the nuances of the script so that our experience of the show is a rich and vibrant one. He holds our attention by tapping into our intimate fears, and makes believable what could have been tenuous at best.

There are things that we sweep under the carpet, so that life can move on. It is true that no matter how much philosophising we put it through, death must be, but it is also the awareness that all things come to an end, that gives us the desire to cherish them. Art about mortality therefore serves an important function. In shining a light on the end, we become acutely mindful of the now. Blood Bank talks about the choices we make, when we have little time left. It also reminds us, that time is always scarce, whether we are living or dying. To quote Kurt Vonnegut, “Of all the words of mice and men, the saddest are, ‘It might have been.'”

www.ensemble.com.au

Review: Three Sisters (The Genesian Theatre)

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genesianVenue: The Genesian Theatre (Sydney NSW), Oct 16 – Sep 14, 2015
Playwright: Anton Chekhov (translated by Brian Friel)
Director: Timothy Bennett
Cast: Priscilla Bonham-Carter, Martin Bell, Nick Carter, Ted Crosby, Rob Drew, Susan Farrell, Kathryn Hutchins, Lana Kershaw, Elizabeth MacGregor, Tom Marwick, Tom Massey, James Moir, Dominique Nesbitt, Martin Searles, Darien Williams

Theatre review
In Chekhov’s Three Sisters, time moves past its characters to show us the stasis and passivity of their pessimistic lives. The play runs for almost three hours, but few things change for the Prozorovas over the course of its 5-year plot. There is always a sense that things are better elsewhere, but the women never venture very far away. Whether it is circumstance that keeps them bound to their family home, or their lack of resolve that prevents them from finding greener pastures, is ambiguous. Brian Friel’s 1981 translation is a vibrant one, with a subtle humour accompanying the despondency of its scenarios, but Chekhov’s incessant lamenting is certainly left unscathed.

This staging, directed by Timothy Bennett, attempts to be a faithful rendering of the piece. Design aspects are effectively executed, with attention spent on ensuring a period depiction that appears accurate. Correspondingly, performances seem to resist any modernisation. The cast’s preference for a stylistically nostalgic tone is charming, but can also feel stilted and staid. Finding enough depth to express the complexities of Chekhov’s writing is challenging, and on this occasion, the actors’ emphasis on establishing accuracy in affectation and manner, come in sacrifice of character studies that portray psychological and behavioural authenticity. The production provides an impressionistic account of events and personalities, but we desire something more substantial beyond its pleasant surface.

At the play’s end, the sisters once again talk about the future. It is a mixture of hope and hopelessness, and as we ponder their story from a distance of over a century, we wonder if their longing for better days has come to pass. It is important that we understand the shackles that keep the women bound in the play, and the dysfunctions in societies that stand in the way of progress. What prevents the Three Sisters from finding happiness is open to interpretation, and like the introspection required for our own lives to improve, an exercise that will prove to be rewarding.

www.genesiantheatre.com.au

Review: My Zinc Bed (Ensemble Theatre)

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ensembleVenue: Ensemble Theatre (Kirribilli NSW), Oct 10 – Nov 22, 2015
Playwright: David Hare
Director: Mark Kilmurry
Cast: Danielle Carter, Sam O’Sullivan, Sean Taylor
Image by Clare Hawley

Theatre review
Addiction might be termed a modern phenomenon. In recent years, conditions of all kinds ranging from alcohol and drug use, to sexual and stealing behaviours, have become forms of addiction, almost achieving medical or pathological legitimacy in the general discourse of Western life. David Hare’s My Zinc Bed examines the meanings behind this contemporary way of looking at human volition and responsibility, and the quality of human weakness versus expectations regarding the individual’s contribution or dependence on society. The script is extremely contemplative, punctuated by stimulating and controversial ideas that can be challenging, although the tone of the work is notably gentle and compassionate. We are encouraged to examine the human condition from a refreshing perspective and to evaluate our assumptions about addictions of different kinds, but always being mindful about the vulnerabilities that we share.

Mark Kilmurry’s direction is interested in all the philosophical content of the text, and succeeds in making his play a relentlessly thoughtful one, while maintaining a dramatic tension that keeps us engaged throughout. Characters in the play are not particularly likeable, but their experiences are readily identifiable, and Kilmurry ensures that their exchanges never fail to fascinate. Visual elements are effectively minimal, but subtle design flourishes are executed with remarkable elegance. Tobhiyah Stone Feller’s set and Nicholas Higgins lights provide the illusion of emptiness, but provide immense scope for sentimental fluctuations. What appears to be cold and hard on the surface, is actually quite subconsciously moving with each transition of scenes.

There are breathtaking performances to be found in the production. All three actors demonstrate a thorough understanding of text and characters, and their interactions are consistently powerful. Every line is delivered with the sizzle of subtext and mystery, and we are seduced into worlds of imagination and reflection. The rhapsodic Sean Taylor is as magnetic as he is convincing. We are lured into studying his every minute gesture, believing them to be of great significance, and his commanding voice is simply irresistible. The actor’s presence is an overwhelming one, and it is fortuitous that his abilities at storytelling are no less impressive. Danielle Carter’s part requires her to display extraordinary inner complexity and also to portray the somewhat customary femme fatale with a forceful allure, both of which she performs with tremendous impact. The central Paul Peplow is played by Sam O’Sullivan, who brings earnestness, passion and emotional intensity to a personality that is more than familiar to many of our lives. His work feels genuine, and the believability of his creation is crucial to the show’s success.

Being social means that we rely on each other. Every person is both strong and weak, and there is a constant negotiation that happens in how much we are willing to forgive, how we apportion blame, and how far we can extend kindness. Paradigms of illness and disease demand of us generosity, but like anything social, they stand to be exploited in ways that will not always find universal agreement. Addiction is real, but also false. Like any label of identification, it provides an indication of circumstances, that must always be prepared to be questioned.

www.ensemble.com.au

Review: Ghosts (The Depot Theatre)

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depotVenue: The Depot Theatre (Marrickville NSW), Oct 7 – 24, 2015
Playwright: Henrik Ibsen
Director: Julie Baz
Cast: Julie Baz, David Jeffrey, Emily McGowan, Zac McKay, Steve Vincent

Theatre review
Themes in Henrik Ibsen’s 1881 play Ghosts remain controversial. We continue to debate over religion, venereal disease, incest and euthanasia; each subject is a divisive one, and placing them all in a play for the 19th century, must have given it an explosive edge. By today’s standards however, its very subtle language communicates obtusely. Measured insinuations for delicate sensibilities of a time past are predictably no longer effective in the same way. We require much more obvious dialogue to evoke a level of drama that would correspond with the issues being explored. Ibsen’s writing is beautiful, but presenting it on a contemporary stage requires extensive adaptation, if not of its words, then all the other visual and aural symbols need to find a way to excite us, or at least introduce a greater sense of intrigue. There is much to engage us in the story of Ghosts, but conveying its ideas so many years later is certainly challenging.

Performances are at best, uneven in this production. Characters are depicted with insufficient depth, and actors are unable to express complexity within their roles. There is very little variation in tone and temperament, creating an impression of oversimplification and therefore, our understanding of their narratives become surface. We try to relate to their humanity but struggle to find points of connection. Steve Vincent is an intense Oswald, injecting energy into an oft too placid atmosphere, but his approach requires greater nuance. Zac McKay’s ability to create an air of foreboding and his daring gestures suggesting illicit sexuality, are some of the more theatrical moments of the show, but the role of Jacob Engstrand is a small one. Director Julie Baz keeps the pace tight, and volume levels high, but her show is not finely detailed, and although we see the big picture, much of the undercurrent goings on are lost.

Ghosts talks about things that haunt us, and the things we inherit. It is about the past, and how we negotiate their restraints as we try to move forward. Australian art is full of ghosts, and European masters like Ibsen have an influence over our artistic landscape, the nature of which is probably best described as a love-hate relationship. It gives us a context with which we can have an international voice that facilitates exchanges with cultural capitals of the world, but it also holds us back with yardsticks that are multifariously archaic. In the making of art, we cannot forget those that have come before, but we must remember that our trajectories can only move to the future.

www.thedepottheatre.com

Review: The Real Thing (New Theatre)

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newtheatreVenue: New Theatre (Newtown NSW), Oct 6 – Nov 7, 2015
Playwright: Tom Stoppard
Director: Alice Livingstone
Cast: Peter Eyers, Charlotte Hazzard, Ainslie McGlynn, Christopher Tomkinson, Emily Weare, Benjamin Winckle
Photography © Bob Seary

Theatre review
There are two main things being discussed in Tom Stoppard’s The Real Thing; the nature of relationships, and the process of making art. Through several “play within a play” segments, we attempt to get to the bottom of what is most honest, by looking past pretences for a grasp of the real. Monogamy, fidelity and longevity of relationships are dealt with in the most intellectually frank way, and although the play is now well over 30 years old, its propositions are no less refreshing and controversial. The extraordinarily articulate dissection of the creative process, along with the analysis of values that we place upon art, are also full of poignancy and resonance. The play is witty and pointedly intelligent, with challenging concepts and brilliantly delightful use of language that keep us entertained while placing our brains on overdrive.

Director Alice Livingstone is uncompromising with the depth of the text, while simultaneously introducing, quite miraculously, a jaunty pace to a staging that delivers solid laughs alongside a consistently astute level of discourse. The work suffers from a lack of visual imagination that results in stagnant and predictable physical compositions, but its meticulous attention to nuances in dialogue is more than impressive.

Leading man Christopher Tomkinson is the perfect blend of eccentricity, smarts and vulnerability. The actor’s thorough appreciation of the writing offers up an interpretation of Stoppard’s lines that is completely fascinating. He opens up a world of thinking that we rarely encounter; one that seems original yet is able to ring true on a very intimate level. Equally precise is Ainslie McGlynn in the role of Annie, whose embodiment of her character’s conflicts with monogamy and love are thoughtful and provocative. For all the talk about sex, the production’s energy is not particularly libidinous, but chemistry between players is of a good standard. The cast is a cohesive one that tells the story from a unified perspective, and the consequences are often powerful.

The Real Thing is an important work about universal experiences. Love may be hard to define, but it shapes everyone. We chase it constantly but seldom do we stop to reflect on these impulses. Tom Stoppard resists romantic delusions and preconceived notions to locate a truer understanding of that mysterious force underscoring so much of our lives. We want to know what love is, and he intends to show us.

www.newtheatre.org.au

Review: A Flower Of The Lips (King Street Theatre)

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flowerVenue: King Street Theatre (Newtown NSW), Oct 6 – 24, 2015
Playwright: Valentino Musico
Director: Ira Hal Seidenstein
Cast: Michelle De Rosa, Marcella Franco, Jamila Hall, Yiss Mill, Kiki Skountzos

Theatre review
Every life has a story to tell. No matter our choices and experiences, narratives can be woven and lessons are to be learned from any being that has walked the earth, but it is up to the storyteller to translate an existence into something meaningful for the listener. Valentino Musico’s A Flower Of The Lips investigates the short life of his great-grandfather, Bruno Aloi of Calabria, Italy a century ago. Aloi’s extraordinary legend has persisted in his village of Pietracupa, and it is understandable that Musico is fascinated by the ancestor and is thus motivated to create a play that immortalises those memories. The work is sincere and earthy, but its pidgin English may be problematic for some. The temporal and social context of the plot may also prove obscure, and reaching an understanding of unfolding events is challenging.

Direction by Ira Hal Seidenstein is stylistically minimal yet energetic and joyful. Early portions of the show would benefit from greater elucidations in order that its distant time, space and characters can communicate more intimately. Performances are committed but the characters are not sufficiently accessible. There is a gulf between them and us that needs to be bridged, so that what we see on stage can find a universality and emotional resonance.

The tales surrounding Bruno Aloi are clearly near and dear to the writer, but those passions are difficult to connect with. Audiences are selfish and need to be shown a way to relate personally to what is being shared. Valentino Musico’s play is an expression of his love of family and of his familial history, which we can appreciate, but from afar.

www.kingstreettheatre.com.au

Review: Pygmalion (UTS Backstage)

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utsbackstageVenue: Bon Marche Studio (Ultimo NSW), Oct 1 – 4, 2015
Playwright: George Bernard Shaw (adapted by Joanna Griffiths)
Director: Joanna Griffiths
Cast: Emma Barrett, Ben Chapple, Jack Clark, Elizabeth Collins, Tom Crotty, Remy Danoy, Norah George, Kate Gogolewski, Cameron Hart, Xavier Holt, Blake O’Brien, Mikaela Rundle, Steph Stuart, Adam Teusner, Beattie Tow
Image by Christopher Quyen

Theatre review
Joanna Griffith’s retelling of George Bernard Shaw’s Pygmalion explores the dark facets of the century old story, bringing to focus issues of race, gender and class that can easily be obscured by its own lighter elements. The production is part traditional, part contemporary, and it is the inconceivable juxtaposition of the two, on the same stage, that gives the show a thrilling edge. The inventive use of symbols and abstraction to accompany the antiquated dialogue provides a refreshing theatrical experience and the messages conveyed are at times, quite powerful.

There is a lot of flair in Griffith’s adventurous approach. Her outlandish flourishes, including several segments of dance, as well as a quirky take on Eliza Doolittle’s original voice (possibly an African accent), uses the medium of performance to communicate passionate ideas in an abstract but surprisingly effective way. Presentation of the show’s more conventional segments require greater sophistication, but solid work by its lead actors Mikaela Rundle and Adam Teusner help to keep us engaged. Rundle’s creativity and exuberance as Eliza provide us with abundance of food for thought, along with delightful entertainment value. Her talents in movement are a highlight and the foundation for the most memorable sequences of the production. Professor Higgins is charmingly portrayed by Teusner who displays a strong understanding of the text and its intentions. His ability to finely balance old-fashioned comedy with contemporary political concerns demonstrates sensitivity and intelligence.

This thoughtful rendition of Pygmalion plays with a range of deeply interesting concepts and presents them in unexpected ways. Its daring impulses fascinate and challenge, but are never simplistic or callow. Technical executions can be fine tuned at many levels, but their design and purpose are beautifully imagined. It is important to think about subtexts and subtle implications of every story we tell, and on this occasion, we discover meaning in everything.

www.utsbackstage.com