Review: Lizzie (Hayes Theatre)

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)

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)

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 

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

Review: Girl From The North Country (Theatre Royal Sydney)

Venue: Theatre Royal Sydney (Sydney NSW), 6 Jan – 27 Feb, 2022
Book: Conor McPherson
Music & Lyrics: Bob Dylan
Director: Conor McPherson
Cast: Tony Black, Peter Carroll, Tony Cogin, Laurence Coy, Terence Crawford, Helen Dallimore, Blake Erickson, Callum Francis, Elizabeth Hay, Peter Kowitz, Lisa McCune, Samantha Morley, Zahra Newman, Christina O’Neill, Grant Piro, James Smith, Greg Stone, Chemon Theys, Liam Wigney
Images by Daniel Boud

Theatre review
Characters of Girl from the North Country weave in and out of a Minnesota house, in 1934 when the Great Depression was in full force. Their stories are written by Conor McPherson, whose flair for sentimental nostalgia is put to good use, in this musical set to the songs of Bob Dylan. A kind of specific Americanness, found in its themes as well as in its style, might make the show feel somewhat distant to Australian sensibilities, but a transcendent beauty so present in all its creative considerations, almost bridges that cultural gap.

Although not always engaging, the work is certainly transportative. Directed by McPherson, Girl from the North Country takes us to another time and place, with a level of elegance rarely seen on our musical theatre stages. Mark Henderson’s lighting design, in collaboration with Rae Smith’s sets and costumes, offer up lush vistas that meld so wonderfully with musical director Andrew Ross’ reworking of Dylan’s songs. Lucy Hind’s sensitive choreography too is memorable, in a production that feels so confident yet remarkably understated.

The languid aesthetic is brought to manifestation by an endearing cast, including Peter Carroll, Lisa McCune and Zahra Newman, who deliver captivating personalities, in a show that is otherwise fairly resistant of our need to identify with its people and situations. Sublime singing from the likes of Callum Francis, Elizabeth Hay and Christina O’Neill pull us in, so that we can regard the heart and soul of these artistic renderings, at close proximation.

There are many moments of theatrical magic in Girl from the North Country, but there are also many instances where it leaves us unexpectedly cold. It includes an abundance of exquisite elements that amount to something best described as mellow. One would not be surprised to discover that the songs connect more than the stories do, in a work that stands most importantly, as a tribute to the legend that is Bob Dylan.

www.northcountry.com.au

Review: Dorr-e Dari: A Poetic Crash Course In The Language Of Love (PYT Fairfield)

Venue: Carriageworks (Eveleigh NSW), Jan 20 – 24, 2021
Director: Paul Dwyer
Cast: Mahdi Mohammadi, Bibi Goul Mossavi, Jawad Yaqoubi
Images by Anna Kucera

Theatre review
In Dorr-e Dari, the aspect of Sydney we call a cultural melting pot, comes to life, as artists with roots in Kabul, Tehran and Quetta collaborate to present a work based on Persian poetry. Subtitled “A Poetic Crash Course in the Language of Love” we are treated to philosophical perspectives on affairs of the heart, not restricted to the romantic, but relevant to all tender parts of humanity. Many of the words are foreign, but the sentiments of Dorr-e Dari feel to be wholly universal.

On stage for the entirety, a trio of artists Mahdi Mohammadi, Bibi Goul Mossavi and Jawad Yaqoubi present a bilingual show that often deals with tradition, but tailored to a modern Australian sensibility. With an English-speaking audience in mind, they find ways to cross bridges, and formulate translations, so that through these ancient writings, a new cohesion can be forged, especially between tribes that seem, on the surface, to be incompatible. It appears that to locate commonalities in the details of how our emotions work, is to create a sense of peace in how we experience and understand the world. For a work about love, it is indeed the nature of our shared existence on this one land that becomes fundamental.

Directed by Paul Dwyer, the show is unexpectedly beautiful in its somewhat fragmented form. Sequences can be naturalistic or theatrical, conversational or ceremonial, spiritual or didactical; there are dance sequences, comedic anecdotes, and videophone footage (live and pre-recorded), Dorr-e Dari is unconstrained in the ways it wishes to communicate. The tone is however, pleasantly cohesive, with all three performers proving to be highly likeable, and very welcoming presences, even if slightly unseasoned by conventional standards.

As we become used to the notion of having to bring diversity to all our social and professional endeavours, we gain a new appreciation for a post-assimilation world, where cultures of colonisation should no longer dominate our conversations. It is of great significance that Dorr-e Dari commences with a welcome to country by Indigenous elder, Aunty Rhonda Dixon-Grovenor (who also contributes her own love poem). As a people with roots from all over the planet, the only point of convergence for Australians, should we ever feel the need to have only one, must always have a First Nations emphasis. This is the most rational, and the most just, way for us to advance as a nation. The future of Australia needs to provide dignity for all, not only for the most barbaric.

www.pyt.com.au

Review: Maureen: Harbinger Of Death (Seymour Centre)

Venue: Seymour Centre (Chippendale NSW), Jan 15 – 23, 2021
Playwright: Jonny Hawkins
Director: Nell Ranney
Cast: Jonny Hawkins
Images by Yaya Stempler

Theatre review
In the prologue, we learn that some of Jonny Hawkins’ best friends are old ladies. It is a somewhat strange declaration to make, but the truth is that very few young Australians, can say that they spend much time at all with the elderly. As a colonised nation, we routinely ignore the old. Youth is money, and money is everything, in this Western style civilisation we all have to live. Thank heavens then, that Hawkins has created a play that shifts our focus, making us look intently at a woman in her glorious eighties. Maureen: Harbinger Of Death may not be an entirely true story, but none of it ever feels less than real.

This one-person show involves Hawkins themself performing as Maureen, sat permanently in a chair, never tiring of a nice, long chat. Her advanced years lead her to believe that she has the ability to foreshadow the death of friends, for she has seen them depart one by one. The writing is witty, extremely warm and often very poignant. Direction by Nell Ranney is extraordinarily elegant, for an appropriately restrained production featuring a larger than life character. Lights by Nick Schlieper and sound design by Steve Toulmin, are quietly resolved but always just right. Isabel Hudson’s work on set and costume is delicately considered, and a visual delight.

As performer, Hawkins is remarkable. They inhabit and convey wonderfully, the luminous essence of Maureen, a woman any audience will find instantly loveable. Their generosity of spirit offers a bridge, one that invites us to regard the octogenarian in the same way. Hawkins’ sharp comedic sense ensures that we are riveted, and the ease with which they command the stage, is quite a marvel to observe.

Maureen: Harbinger Of Death is a dignified portrait, of a person otherwise overlooked and forgotten. All of us are valuable cogs of the same machine, yet only a few at the top are ever celebrated. Our way of life requires that each must give till it hurts, but how we are rewarded for the same pain, is certainly unequal and unjust. So many are chewed up and spat out; so many are given use-by dates, and mercilessly abandoned thereafter. By contrast, many of our minority cultures revere the elderly. If only we knew to make better choices.

www.nellranney.com.au

Review: The Rise And Fall Of Saint George (Performing Lines)

Venue: Barangaroo Reserve (Barangaroo NSW), Jan 15, 2021
Music: Paul Mac
Lyrics: Lachlan Philpott
Director: Kate Champion
Cast: Andrew Bukenya, Jacqui Dark, HANDSOME, Joyride, Brendan Maclean, Ngaiire, Marcus Whale, Inner West Voices, Sydney Philharmonia Choirs, Sydney Conservatorium of Music
Images by Bianca De Marchi

Theatre review
English pop music legend George Michael passed away Christmas Day 2016. His death (and life) holds special meaning for the diverse and bohemian suburb of Newtown in Sydney, where a mural was painted soon after by graffiti artist Scott Marsh, on a wall outside the home of musician Paul Mac. Passengers on a busy train line would pass by many times every hour, watching a sanctified commemoration of St George, complete with spliff and beer bottle, as if blessing Sydneysiders from an ironic but unequivocally loving heaven.

It was a difficult time for Australia, leading up to the same-sex marriage referendum in Sep 2017. Our divisions had become severe and overt like never before, but there he was, St George with a Pride flag draped around his shoulders, in a mock religious style, providing comfort and reassurance. The gay icon had left behind an unparalleled legacy. Emanating from the spray painted image, were memories of his achievements, escapades and defiance, a constant reminder that all will be fine, in the midst of daily homophobic attacks on virtually every media platform.

Days after it was made official that marriage equality would come to pass, our beloved St George was defiled. Black paint was smeared all over what had quickly become a landmark, by Christian fundamentalists, who claimed it an insulting portrayal of Jesus Christ. Our community was left reeling. The artists went to work. The Rise And Fall Of Saint George is a collection of songs by Paul Mac and playwright Lachlan Philpott, documenting that assault on Newtown and Sydney’s queer community. It deals with trauma not only of that fateful moment, but is in fact, a meditation on the lifelong persecution suffered by all of us whose sexual and gender identities dare deviate from the straight and narrow.

Like Michael’s own music, the work here is consistently melancholic, whether the rhythms are buoyant or sentimental. Peppered with deeply affecting moments of Mac addressing the audience from his piano, with first-hand accounts of precious memories, the entire experience is a tender one. A choir (conducted by Emily Irvine) and solo singers perform each number with admirable passion, often with flamboyant embellishments, but always sincere in their approach. Video projections by Tony Melov are evocative enhancements offering invaluable flashbacks, that return us to some very emotional days.

From his early days hiding in the closet, afraid of the myriad devastating repercussions if found out, to a rejuvenated existence that is unapologetically loud and proud, the George Michael narrative is one that all in this community is intimately familiar with. Violence is nothing new to us, and the more we have to endure it, the more brilliant we shine.

www.performinglines.org.au

Review: AutoCannibal (Oozing Future)

Venue: Carriageworks (Eveleigh NSW), Jan 13 – 17, 2021
Director: Masha Terentieva
Cast/Creator: Mitch Jones
Images by Yaya Stempler

Theatre review
The show is named AutoCannibal because in the dystopic future of Mitch Jones’ creation, he is seen gradually eating himself to death, literally. Starting with expendable parts of the anatomy, like hair and nails, we watch his desperation gradually escalate, and wonder if the moment of inevitability will take place right before our eyes. A one-man show in the physical theatre tradition, reminiscent of the work of artists like Buster Keaton and Marcel Marceau, Jones pushes the envelope towards something very dark, although not altogether unfunny.

There are many horror dimensions to AutoCannibal, involving self-mutilation of course, but also isolation, madness and other hard to name fears resulting from the end of the civilisation. A short video at the beginning hints at the usual suspects, namely climate, capitalism and politics, that lead us to this point of abject destruction, but in 2021, there really is very little need for explanations about the sad state of affairs in which our protagonist finds himself. We may be conditioned to interpret dystopic visions as futuristic cautionary tales, but at this present time, it takes little stretch of the imagination, to read the presentation as an allegory for so much that is happening today.

Design aspects of the show are highly accomplished. Sound by Bonnie Knight is dynamic and compelling, a crucial element in lieu of dialogue, that guides us through varying states of distress and humour. Paul Lin’s lights are moody but magical, effective in establishing something very close to a living nightmare before our eyes. Michael Baxter’s set design too is noteworthy, able to provide more than functionality, for a stage that looks genuinely terrifying.

Under Masha Terentieva’s direction, Jones performs a wordless theatre that is just scary enough, often pushing us to psychological limits, without taking the action to a point of alienation. There is ample opportunity for showing off Jones’ athletic and comedic talents, but AutoCannibal is not always sufficiently engaging for the intellect. When the audience witnesses a human pushed to the extremes in art and entertainment, we cannot help but wonder about the point of it all, and there is little that could provide satisfying complexity to how we can contextualise these horrors.

We live in a world of scandalous abundance, yet so many are hungry. It boggles the mind that people everywhere are left to die of starvation, while most of us fill our days with hoarding and accumulating the thing commonly known as wealth. Conditioned to think of people as either worthy or unworthy, we are completely at ease with the idea that some are simply lesser, and that their suffering is justified. We are taught to fear, taught to submit, taught to accept that some babies will grow into rich people, and others will languish in poverty, as though this is all natural and the irreversible course of the world. To watch the character in AutoCannibal eat himself to death, is to have our morals called into serious question.

www.oozingfuture.com

Review: Sunshine Super Girl (Performing Lines)

Venue: Sydney Town Hall (Sydney NSW), Jan 8 – 17, 2021
Playwright: Andrea James
Director: Andrea James
Cast: Luke Carroll, Jax Compton, Tuuli Narkle, Katina Olsen, Kyle Shilling
Images by Yaya Stempler

Theatre review
Living legend Evonne Goolagong ruled tennis through the 1970s, a remarkable feat by anyone’s standards, but her successes as a young Aboriginal woman can never be underemphasised. Systemic forces put in place through all these years of colonisation, means that any instances of excellence by the Indigenous population of our land, represents a defiant tenacity, whether or not the individual chooses to identify along political lines. In Andrea James’ Sunshine Super Girl, our heroine thinks of herself as apolitical, however there is no mistaking her achievements as anything but an immense source of pride and inspiration for Australians of all stripes.

Written and directed by James, the work is a captivating study of not just the sporting icon, but also the environment in which all Indigenous women have to endure. Sunshine Super Girl‘s discussions of gender and race, although handled with a lightness of touch, does not shy away from the hard realities that women of colour deal with every day and everywhere. The actual narrative of Goolagong’s glory years is uncomplicated and rarely overtly dramatic, but James’ meticulous direction, along with marvelous choreography by Katina Olsen and Vicki Van Hout, work in collaboration to deliver a rich and soulful creation, that many will find genuinely moving.

There is a tender sincerity to the production that makes its 90-minute duration a terrific experience. Music and sound by Gail Priest are intricate and sensitive, while lights by Karen Norris and projections by Mic Gruchy help us reach emotional depths beyond that which dialogue can provide. Set and costumes by Romanie Harper and Melanie Liertz convey contextual information with great efficiency, able to manufacture a sophisticated aesthetic that is elegant, authentic and very pleasing to the eye.

Leading lady Tuuli Narkle is a charismatic and truthful presence, who impresses with the thoroughness of her reflections, and the precision with which she executes her creative ideas. As a young Goolagong, Narkle is confident, nuanced and simply brilliant. The supporting cast comprises Luke Carroll, Jax Compton, Katina Olsen, Kyle Shilling, a formidable team beautifully cohesive at every turn, yet each performer is able to demonstrate distinct strengths that appeal to the audience in varied ways.

The importance of success stories and role models for minority communities, are often overlooked. Without sufficient examples of accomplishments by people like us, it is easy to think that everything is out of reach. On the other hand, these extraordinary personalities draw attention to the irregularity of people like us making it big. We must place attention on structural mechanisms that are hindrances for particular groups. This often means that dominant cultures have to consciously cede power, before parity can ever have a chance to be attained. Not many of us can be Evonne Goolagong, and we should not have to be exceptional in order to walk this earth with joy and dignity.

www.performinglines.org.au

Review: The Last Season (Force Majeure)

Venue: Carriageworks (Eveleigh NSW), Jan 6 – 10, 2021
Director: Danielle Micich
Cast: Paul Capsis, Olwen Fouéré, Pamela Rabe, Isabel Bantog, Owen Beckman-Scott, Luka Brett-Hall, Maddie Brett-Hall, Imala Cush, Niamh Cush, Nicholas Edwards, Ember Henninger, Piper Kemp, Poppy McKinnon, Julia Piazza, Tallulah Pickard, Louis Ting
Images by Brett Boardman

Theatre review
Thirteen young creatures are hatched at the beginning of The Last Season, and we follow them through their first year, witnessing transformations alongside as they progress through the months commencing in Summer. The first three sections of the 4-part show feature a central character, a mature personality juxtaposing against these tender entities. Presented in a non-narrative format, it suggests ideas of legacy and progeniture, placing focus on past/future and parent/child, to ask fundamental questions about our very existence.

Directed by Danielle Micich, The Last Season is an ambitious work. Marg Howell’s set and costumes, Damien Cooper’s lights, and Kelly Ryall’s music, all conspire to create something that indicates an unmissable sense of the epic; the themes under investigation certainly are of that grandiose scale. Transcendental in its tone and feel, the production however never really moves us to the sublime. Its abstraction places us in a cerebral state, yet what it wishes to say, seems to remain in the pedestrian.

Although insufficiently inventive, The Last Season‘s experimental nature is to be lauded. The youthful ensemble is full of intensity and concentration, with every member displaying admirable generosity in their commitment to the art form. Senior performers bring colourful variation, each one distinct and memorable. Paul Capsis is especially powerful, with the poignant humour and sincerity that they are able to introduce to the piece. Olwen Fouéré’s extraordinary style and energy provide a remarkable sense of elevation, and Pamela Rabe’s august theatricality establishes a necessary gravity that keeps us attentive.

With each generation, we wonder if it is just history repeating, or if a new frontier is being forged. Life is a mystery, but we know for sure that there will always be individuals who refuse to toe the line, and new innovators who will create something never before seen. Conformity is death, so it is fortunate that living amongst us, are those who will ensure that our extinction is kept at bay, for a little while longer.

www.forcemajeure.com.au