Tag Archives: sydney festival

Review: Things Hidden Since The Foundation Of The World (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Jan 19 – 21, 2024
Playwright: Javaad Alipoor, Chris Thorpe
Director: Javaad Alipoor
Cast: Javaad Alipoor, Raam Emami, Asha Reid
Images by Chris Payne

Theatre review
It was 1992 when queer Iranian popstar Fereydoun Farrokhzad was found murdered in exile. To the English-speaking world, theatre maker Javaad Alipoor would describe Farrokhzad as Iran’s answer to Tom Jones, but that description is of course fraught with inaccuracies. Being Persian-English and child of an immigrant, Alipoor is sensitive to his existence as being simultaneously two things, and being in-between. It is a colonised experience of never really being whole, described by the term “subalternity”, which Alipoor introduces at the beginning of his show Things Hidden Since the Foundation of the World.

When in a position of subordination, one is keenly aware of the futility and impotence, of not just translations across boundaries, but also of the very phenomenon of meaning creation itself, especially in the current moment, when the availability of information seems to exist only as chains of replication on the internet. Alipoor talks a lot about Wikipedia, as a model of how we try to understand things in the modern age, and the rabbit holes that our venerated technologies engender. There is an inexhaustibility to the representation of facts, but truth is elusive. His concepts for Things Hidden are valuable, but they are expressed in complicated ways, which pose a real challenge for our minds, and one can be fairly certain that to attain a high level of concurrent comprehension for the wordy (and speedy) text, is probably an impracticable exercise.

Alipoor’s intricate and perplexing expressions are however, unquestionably theatrical. Things Hidden is an entrancing work. With stage, costume and lighting design by Benjamin Brockman, we observe a sophistication and confidence, that underpin the characteristic abstruseness of the show. Along with Limbic Cinema’s correspondingly complicated video projections, the overall visual effect is kaleidoscopic and quite beguiling. Music by Raam Emami, performed live by Me-Lee Hay (along with other members of cast), is consistently gripping, always on hand to manufacture an air of urgency. Sound design by Simon McCorry adds to the general flamboyance, for a production that insists on our attentiveness, even when we feel unable to absorb enough of the goings on.

As performer, Alipoor’s august presence maintains a believability for his material, which he offers with great conviction, in a somewhat instructional style. The previously mentioned Emami charms the audience with his personal anecdotes, delivered with exceptional affability, in sections of the show that feel more accessible. Asha Reid, completely convincing in the role of a podcaster, impresses with the velocity and precision, with which she attacks the density of the text, written by Alipoor and Chris Thorpe.

In watching Things Hidden Since the Foundation of the World, one experiences something that can probably de described as the visceral effects of knowing. This happens with so much of art, when our brains feel like they might be drawing a blank, but other aspects of our corporeality go through their own processes of ingestion and interpretation. With time, we discover a certain growth, one that might appear much later than perhaps anticipated. The nature of knowledge might be deeply byzantine, but within this existence, there are few things more gratifying, than when we know.

www.nationaltheatreofparramatta.com.au | www.homemcr.org

Review: Tiddas  (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Jan 12 – 28, 2024
Playwright: Anita Heiss
Directors: Nadine McDonald-Dowd, Roxanne McDonald
Cast: Lara Croydon, Sean Dow, Jade Lomas-Ronan, Nadine McDonald-Dowd, Roxanne McDonald, Anna McMahon, Perry Mooney
Images by Stephen Wilson Barker

Theatre review
Having been childhood friends for thirty years, this group of five women has nothing to hide from one another. In Anita Heiss’ Tiddas, it is the frankness of these characters, that guide us to a meditation on some of the deeper aspects of life on this land. Most of the people we meet in the play are Aboriginal, and we benefit from their socially resonant discussions about identity and sovereignty. On more intimate levels, there are explorations into topics such as motherhood, romance and friendship; all dealt with in a fiercely authentic way, that enables us to examine some of the central elements of our shared humanity, with admirable clarity and honesty.

Directed by Nadine McDonald-Dowd and Roxanne McDonald, Tiddas is consistently engaging, always an entertaining watch, whilst keeping our minds attentive to the sensitive subjects being explored. There is a gentle beauty being rendered by aesthetical aspects of the show, a softness perhaps that is commensurate with the diversity of feminine qualities we encounter. Set and costumes by Zoe Rouse are vibrant, colourful and with a sense of sumptuousness that puts us at ease, so that we remain open to the ideas being studied. Lights by Jason Glenwright and sounds by Wil Hughes, are both intricately consistent with every ebb and flow of the drama and the comedy, ensuring that the atmosphere is in complete harmony with each stage of the storytelling.

The cast of seven is exceptionally warm,  with a wonderful chemistry that makes every interchange believable. There are however moments in their performance that can be excessively declarative in style, in ways that move our involvement as an audience away from instinct and emotion, to somewhere a little too logical. It is when the personalities are convincingly natural, that we can really sink our teeth into all the richness that Tiddas intends. Roxanne McDonald (aforementioned as co-director) and Perry Mooney are particularly strong with the level of naturalism they introduce, allowing us to relate meaningfully, to the many worthy concerns of the show.

There is so much in modern life that prevents us from being real. It is only in the presence of close friends and family that we can be who we truly are. It is also in art, that we can be encouraged to peel away pretences and mendacities, to understand our truest natures. In Tiddas we can see what are most important to the five women, and decide for ourselves, how much in common we have with their bliss.

www.belvoir.com.au | www.laboite.com.au

Review: Big Name, No Blankets (Ilbijerri Theatre Company)

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Venue: Roslyn Packer Theatre (Sydney NSW), Jan 10 – 14, 2024
Playwright: Andrea James
Directors: Dr Rachael Maza AM and Anyupa Butcher
Cast: Baykali Ganambarr, Googoorewon Knox, Teangi Knox, Aaron McGrath, Jackson Peele, Cassandra Williams, Tibian Wyles
Images by Brett Boardman

Theatre review
It was 1980 when the Butcher brothers from Papunya in the Northern Territory, along with some great friends, formed the iconic Warumpi Band. Bringing their act all over Australia, and to Europe, the group cemented themselves as an integral part of our national and Indigenous cultural histories. The new play with music Big Name, No Blankets by Andrea James, offers an opportunity to acquire a deeper knowledge of the band, juxtaposing anecdotes of their formation and stories from the road, with legendary songs that prove to stand the test of time.

Co-directed by Dr Rachael Maza AM and Anyupa Butcher, the show shifts seamlessly between its dramatic portions and its musical sections, perfectly blending both aspects for a wonderfully cohesive telling of a captivating tale. Performer Baykali Ganambarr leads the charismatic cast, playing the role of Sammy Butcher Tjapanangka and serving as narrator, with a humorously tender approach that engenders a consistent simpatico connection with the audience.

Also noteworthy is Googoorewon Knox, who as the band’s lead singer George Burarrwanga brings glamour and energy, completely electrifying when performing Warumpi Band’s many rock numbers. Music direction by Gary Watling, together with arrangements by Crystal Butcher, are an unequivocal joy, presented powerfully by live musicians who demonstrate beautifully the genius of the source material. Sound design by James Henry create further auditory embellishments, to keep us engaged and invested.

Set design by Emily Barrie addresses sensitively the various spatial requirements of the storytelling. Lights by Jenny Hector fill the atmosphere with warmth, but switch effortlessly to alluring vivacity when characters are in rock star mode. Video projections by Sean Bacon, Patricia McKean and Guck help us contextualise times and places, as we delve into different pockets of the past. Costumes by Heidi Brooks provide a sense of authenticity for the personalities we encounter, and for an era that most do still remember.

Members of Warumpu Band followed their hearts, and created a legacy out of passion and bliss. Big Name, No Blankets represents and exemplifies the integrity that we should all seek in how we make our decisions, and in how we live our lives. In the show, we see people being their true selves, and are reminded that trying to be anything else, is always a futile, and often harmful, exercise.

www.ilbijerri.com.au

Review: Janet’s Vagrant Love (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Jan 19 – 22, 2023
Playwright: Elaine Crombie
Directors: Kirk Page
Cast: Elaine Crombie
Images by

Theatre review

In between personal anecdotes of love and loss, Elaine Crombie sings incredibly beautiful songs, as she plays her guitar, with accompanist Amaru Derwent on keyboard. The show is entitled Janet’s Vagrant Love, but not for a second do we feel that Crombie conveys anything but her own deepest truths, in these recollections, involving people who have come and gone. We witness joy and pain, seemingly dichotomous but in comfortable juxtaposition, as well as strength alongside vulnerability, such are the complexities and incoherence of existence.

Direction by Kirk Page allows the fractures to remain exposed and unvarnished in the show. The experience is simply about being in the presence of humanity, one that we can feel to be natural and real, with narratives that are as disjointed as those in every person’s life. The presentation may be unpretentious, but there is no denying the skill of Crombie’s vocals and song writing, delivering many moments of transcendence.

Crombie, as a Pitjantjatjara, Warrigmal, South Sea & German descended woman, very generously says that this place is home for all of us. It can only follow, that when one of our family, especially if they are part of a lineage that has grappled with generations of dispossession, takes to the stage and magnanimously shares the contents of her heart, we have to bear witness, and be filled with a deep appreciation, to be offered an opportunity that many do not deserve.

www.belvoir.com.au

Review: Blue (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Jan 14 – 29, 2023
Playwright: Thomas Weatherall
Directors: Deborah Brown
Cast: Thomas Weatherall
Images by Joseph Mayers

Theatre review

Barely out of his teens, Mark is already facing some of life’s biggest challenges. Having been dealt devastatingly bad hands in quick succession, he is left to pick up the pieces, in a world he is not quite ready for. Thomas Weatherall’s Blue is a work of fiction, but its explorations of despair feel exhaustive and authentic. There is a beauty in his rhythmic arrangement of words, that keeps the darkness from becoming alienating, along with a wistful humour that gently endears. As is perhaps typical of young writing, Blue may not always be sufficiently insightful, but its ability to convey poignancy is unequivocal.

Directed by Deborah Brown, the staging is tender and immediate, consistently intimate in its rendering of a contemplative one-man show. Set design by Cris Baldwin and Jacob Nash evokes a glacial edge, mesmerising with its intricate detailing of surfaces, and effective at transporting us to the oceanic settings that play an important part of the storytelling. David Bergman’s video work is projected onto the entirely white vista, for breathtaking visual transformations that move us beyond the capacity of words. Lights by Chloe Ogilvie are soft and sensitive, helping us connect with the undulating melancholy of the piece. Wil Hughes’ minimal sound design too, is delicate in its efforts to enhance the efficacy of the words we hear.

As performer, Weatherall’s disarming charm lures us into the deeply introspective monologue, to participate in Blue‘s solemn ruminations about the nature of love and loss. Weatherall’s knack for naturalism makes convincing everything that he presents. His ability to inhabit Mark’s intense emotions is compelling, proving successful at drawing sympathy for the character’s very unfortunate circumstances.

Blue showcases a new era of masculinity, one that feels radically different from all preceding generations. It is unafraid of what it feels, and refuses to be humiliated for honouring truth and emotion. It disregards pretences of power, seeking instead genuine manifestations of strength. It values vulnerability, and understands human fallibility to be natural and necessary, in attaining improved lives, for the individual as well as for communities. When men stop denying the sadness that will always figure in being human, they can perhaps chart a new course, by first identifying what it is, that they really need, to make this existence truly fulfilling.

www.belvoir.com.au

Review: Girls & Boys (Seymour Centre)

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Venue: Seymour Centre (Chippendale NSW), Jan 5 – 15, 2023
Playwright: Dennis Kelly
Director: Mitchell Butel
Cast: Justine Clarke
Images by Sam Roberts

Theatre review

The play is at first incredibly banal, with a woman beginning to tell her life story, with no hint of how her experiences may be of any significance or consequence, to anyone but herself. For almost an hour, the unnamed character in Dennis Kelly’s Girls & Boys tries to beguile her audience with mildly amusing tales of love, family and career, only to come across strangely oblivious to the increasingly ordinariness of what she is sharing. A bombshell is dropped however, in the middle of the show, and everything changes drastically.

Kelly’s writing does not begin at the point of trauma, choosing instead to take an inordinate length of time to set the stage, in order to convey a sense of everyday mundanity, before unleashing its drama of catastrophic proportions. It is arguable if the phenomenon of normative domesticity requires such intricate definition, but there is no questioning the theatrical efficacy of the tension and agony that subsequently surfaces. Girls & Boys takes a while to get to its point, but what it wishes to say about gender is certainly valuable.

Mitchell Butel’s direction of the piece is unremittingly sensitive, able to create resonance in every moment, whether they be simple or vivid. For almost two hours, our attention is held entirely captive, even when nothing particularly substantial seems to be happening. Set design by Ailsa Paterson is colourful and curvaceous, helpful in keeping our eyes animated and engaged. Lights by Nigel Levings and sound by Andrew Howard, are elegantly, and sparingly, utilised to manipulate atmosphere, for a show that speaks in nuance.

Performer Justine Clarke is flawless in this one-woman show, so impressively enamouring with her talent, dedication and skill, that we almost disregard the big messages of the show itself. Clarke’s work is thorough and deep, yet it never feels laboured, and along with an exceptional charm, we find ourselves completely absorbed, in everything she wishes to impart.

What Girls & Boys says about gender, is worth repeating, and has certainly been said time and time again. The woman in the play, would have heard those messages of admonishment many times, before encountering the devastating events that will eventually shape her entire life. We can tell each other everything about these profound truths, yet it seems it is in our nature, to only learn from first-hand experience, these hardest lessons of life.

www.sydneyfestival.org.au | www.statetheatrecompany.com.au

Review: The Museum of Modern Love (Seymour Centre)

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Venue: Seymour Centre (Chippendale NSW), Jan 22 – 30, 2022
Playwright: Tom Holloway (based on the novel by Heather Rose)
Director: Timothy Jones
Cast: Justin Amankwah, Julian Garner, Harriet Gordon-Anderson, Sophie Gregg, Glenn Hazeldine, Aileen Huynh, Tara Morice, Jennifer Rani
Images by Ten Alphas

Theatre review
It is 2010 in New York City, and legendary performance artist Marina Abramović is presenting her work of endurance The Artist is Present, in which she sits face to face with random gallery visitors, for a total of over 700 hours, across three months. In Tom Holloway’s play The Museum of Modern Love (based on Heather Rose’s novel), we meet several people in attendance at Abramović’s exhibition, and catch glimpses of their most intimate selves, in what may be considered a snapshot of the people we are, in this moment, in the middle classes of the Western world.

It may be a touch narcissistic to say that these representations of us on stage, are fascinating and surprisingly likeable. In The Museum of Modern Love, we appear to be nice people, full of vulnerability yet passionate, and even at our worst, we seem to always operate from the best of intentions. The writers do not fear the darker parts of being, but all their depictions come with a fundamental sense of hopefulness, that makes the work an ultimately uplifting one.

Directed by Timothy Jones, the production is elegantly rendered, with perhaps a little too much restraint applied onto the expressions of these very human stories. There is a cool and distanced approach to the storytelling (that feels so much like a visit to any modern art museum), but although detached, there are scenes that will certainly resonate, even if their touch can feel too gentle.

The stage is designed by Stephen Curtis, who very effectively recreates the severe and chilly ambience of conventional museums, with plain colours and straight lines. Alexander Berlage’s lights give enhancement to that astringent aura, but also softens at crucial points to draw attention to the inevitable sentimentality of  these human explorations. Costumes by Veronique Bennett look to be appropriately American, principally functional whilst endeavouring to be subtly stylish. David Bergman’s work on sound and video, elevates the production in a manner that helps to disarm the audience, so that we may respond with emotions rather than rationale, as if a reminder that the experience of life, is never only about logic.

Eight performers are positioned on stage for the entirety, including Julian Garner whose Arky opens and closes the show, and therefore seems to be somewhat the centre of proceedings. Garner introduces a captivating volatility, that makes believable his character’s confounding behaviour. The remarkably committed Harriet Gordon-Anderson and Tara Morice play his daughter and wife respectively, with Morice’s enigmatic presence leaving a particularly strong impression. Sophie Gregg and Aileen Huynh too are memorable, for the vibrancy they deliver each time they occupy centre stage. Justin Amankwah, Glenn Hazeldine and Jennifer Rani bring idiosyncrasies that make The Museum of Modern Love feel intensely truthful, as a kind of testimony about our emotional lives in the early parts of this troubled century.

At MoMA, Abramović was resolutely present, but the intimacy she had tried to embody, can over time, appear contrived. In The Museum of Modern Love, Arky and others are hardly present with their loved ones, but it is that portrayal of absence that makes us understand intimacy. To put forward the case that we are essentially masochistic, is not such an overwrought stratagem. It seems that it is our nature to value things the most, only when we have lost possession of them. It is no wonder then, that we do so much that is determined to put happiness in jeopardy.

www.seymourcentre.com

Review: Lizzie (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), 13 Jan – 5 Feb, 2022
Book: Tim Maner
Music & Lyrics: Steven Cheslik-Demeyer, Tim Maner, Alan Stevens Hewitt
Director: Maeve Marsden
Cast: Stefanie Caccamo, Ali Calder, Marissa Saroca, Sarah Ward
Images by Clare Hawley

Theatre review
It was 1892 in Massachusetts, that Lizzie Borden was believed to have murdered her father and step-mother. There is little in the musical Lizzie, that talks about the morality of her actions, and although it does not necessarily make her a heroic figure, the central ferocity of her convictions, is quite an admirable thing to behold.

Based on an original concept by Steven Cheslik-Demeyer and Tim Maner, the show depicts a young woman living in puritanical times, but unable to contain her fury that arises from persistent ill-treatment. That very inexorable and fervid drive, if present today in our somewhat improved circumstances, would surely see Lizzie achieve a great deal more than notoriety and scandal.

Directed by Maeve Marsden, who uses the hard rock energy of Lizzie‘s song list, to facilitate a passionate staging that appeals to our desire, for stories about feisty women in these modern times. Musical direction by Victoria Falconer is a highlight, informed by feminist philosophy and brimming with a joyful punk edge. Ghenoa Gela’s choreography is inventive and unpredictable, offering physical manifestations to characters that allow us to read them more clearly between the lines.

Melanie Liertz’s set and costume designs evoke a gothic quality that is perfectly suited to the narrative, although several vertical poles positioned downstage can sometimes obscure the view of action taking place further upstage. Verity Hampson’s lights are a dramatic element of the show, bringing great dynamism to all the imagery being presented.

Performer Marissa Saroca as Lizzie, is spirited and wonderfully enthusiastic, although her vocals can be slightly hit-and-miss for the musical’s very rambunctious tunes. Ali Calder and Sarah Ward play the sister and the maid, respectively, and both are reliable in delivering big rock vocals, whilst making some genuinely hilarious comedic choices that endear themselves to the audience incontrovertibly. The part of Lizzie’s love interest Alice, is performed by Stefanie Caccamo who sings beautifully, albeit in a more conventional Broadway style, and who makes believable the speculative sapphic romance.

Considering the conditions women like Lizzie Borden had had to tolerate just to survive, it is a wonder that more murders were not committed. That we think of her as an exception only shows the depth of our habit for compliance, and our capacity to withstand abuse and humiliation. Most of us never reach breaking point, and that is without question, the way manifold forces work to exploit our tendency to bend and acquiesce. We do not always need to draw blood in order to rise up, but it is important that we learn to take cues from women like Lizzie, who have lost patience, long before we are completely drained of the ability to retaliate.

www.hayestheatre.com.au

Review: Who’s Afraid Of Virginia Woolf? (State Theatre Company South Australia)

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Venue: Sydney Opera House (Sydney NSW), Jan 13 – 23, 2022
Playwright: Edward Albee
Director: Margaret Harvey
Cast: Jimi Bani, Rashidi Edward, Juanita Navas-Nguyen, Susan Prior
Images by Yaya Stempler

Theatre review
Martha and George are always fighting. The perpetuality of their battles seems to point to a certain masochism that resides at the centre of their marriage, and we discover that perhaps their endless struggle for power, forms the very foundation of their life together. As viewers on the sidelines, we gladly ride that momentum of conflict, knowing that things simply will never get better for the couple, in Edward Albee’s Who’s Afraid of Virginia Woolf?

Set in the world of academia, in the New England region of the USA, Albee’s discussions about power, pertain to a kind that is particularly white. Director Margaret Harvey’s decision to cast Black men in the roles of the duelling academics George and Nick, brings greater focus to the whiteness that is being interrogated. The futility of these two men trying to climb the social and professional ladders, within a system built upon the exclusion of people like them, are made mournfully clear by the darkness of their skin.

Although never lacking in energy, the production suffers from a shortage of precision, in the way Albee’s often rambling dialogue is presented. The writing’s abstract qualities has a tendency to become overly ambiguous on this stage, making the experience feel at times, somewhat hollow.

Ailsa Paterson’s set design is an elegant update that provides the story with a present day context, but a strangely domineering centrepiece that makes reference to the white practice of pilfering historical artefacts is, although well-meaning, an unnecessary distraction. Lights by Nigel Levings are effectively chilling, in the cold white box of Martha and George’s home. Sound design by Andrew Howard is sparse, but memorable for its use of drums to rouse tensions.

Actor Susan Prior is suitably nebulous as the heavily intoxicated Martha. Jimi Bani’s bouts of anger as George dials up the drama, but a characteristic cynicism seems to be missing. Nick is played by Rashidi Edward who brings great intensity, and his counterpart Honey is thankfully given some backbone by Juanita Navas-Nguyen.

Martha’s father never appears in the play, but he holds absolute power over the people that we meet. Just like the white patriarchy on this land, it is never the ones who benefit most that do the dirty work, but all the foot soldiers who fight amongst themselves, thinking they are advancing their personal ambitions, when in fact are only serving the purposes of those on top. We are given crumbs, that are designed to gaslight us into believing, that the rules of engagement are fair. That we persist with these rules, is as strange as Martha and George persisting with their marriage.

www.statetheatrecompany.com.au

Review: 44 Sex Acts In One Week (Seymour Centre)

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Venue: Seymour Centre (Chippendale NSW), Jan 12 – 16, 2022
Playwright: David Finnigan
Director: Sheridan Harbridge
Cast: Priscilla Doueihy, Matt Hardie, Emma Harvie, Rebecca Massey, Keith Robinson  
Images by Brett Boardman

Theatre review
Celina is not making rent, and Australian workplace relations law is allowing her boss to hire her only on a contractual basis. To ensure the clickbaity publisher gives her more work, Celina decides to write a review of a social influencer’s controversial new book 44 Sex Acts In One Week, after trying out all of the book’s recommendations. David Finnigan’s play of the same name however, is not about sex work, even though that is ostensibly what we witness Celina to be engaging in, for the entire duration. Neither is it about the nature of human sexuality in the twenty-first century. The play’s actual concern, is the blind eye we turn, away from ecological disasters that are ongoing in real life.

That link between our frivolous obsessions and life’s real problems, are not always made explicit in Finnigan’s play. He makes us indulge instead, in a plethora of silly sex jokes (ranging from the painfully juvenile to the surprisingly clever), as an allegorical strategy perhaps, to illustrate the point of our wilful ignorance. One has to be grateful that the conservation message is never dealt with in a heavy handed manner, but its dizzying style of humour, is unlikely to be widely appealing.

Sheridan Harbridge’s direction is gaudy and boisterous, with a sense of exhilaration that is perfectly suited to the themes of 44 Sex Acts In One Week. The raucous atmosphere is greatly enhanced by Trent Suidgeest’s colourful lights and glitzy set design. Elements of the show utilise foley techniques, as though for a radio play; Steve Tolumin’s sound design contributes substantially to the madcap quality of the presentation. Sound engineering though, is somewhat a problem for the production, with dialogue occasionally lost in the vast auditorium.

The eminently charismatic Emma Harvie is perfectly cast as Celina, with an air of naivety that prevents any sexual content from turning overwrought. Her comedic timing is in a word exquisite, and her ability to appear completely impulsive and present, is a real gift. Rebecca Massey plays two roles, both privileged and irresponsible women, who get lampooned exuberantly through Massey’s vivacious approach.

Priscilla Doueihy too performs double duty, but it is in the huge contrast between both characters, that she delivers the biggest laughs. Celina’s sex partner Alab is depicted by an alluring Matt Hardie, who brings appropriate playfulness to the experience. Finally, Keith Robinson is the narrator, reliably dignified as he takes us through each mischievous scene.

Evidence shows that we care little for the environment, and that human extinction is likely to be, just a matter of time. It is not an exaggeration to say that we are, by and large, a destructive species, yet what is distinctive about our behaviour, is that we seem determined to act as though life is eternal. Even during a pandemic, we go to bed assured that tomorrow will come. Nothing seems to be able to put a damper on our certainty that life will go on, and so we keep doing what we do, thinking only of ourselves, when there is no denying that so much of what we do, is akin to mass suicide.

www.clubhouseproductions.com.au