The Marais Project have been busy over the last few years preparing and recording their newest studio album Australian Monody which was launched with a concert over the weekend with the band’s central three musicians joined by two special guests.
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In 2004, while accepting the Sydney Peace Prize at the University of Sydney, novelist and political activist Arundhati Roy said, “There’s really no such thing as the ‘voiceless’. There are only the deliberately silenced, or the preferably unheard.” She was pushing back against the myth that oppressed groups are voiceless and need others to speak for them by acknowledging that the gaps in the discourse or debate or historical record are actually deliberate omissions and erasures. Silenced picks up on the same concerns and grapples with the social, professional, and political consequences of being one of the silenced, specifically of being a woman under patriarchy.
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One year ago Joanne and Felicity formed their temp job agency as a hare-brained scheme for them to do all the jobs themselves, no matter how unqualified, and rake in the money to help stabilise their lives. Now, post-COVID lockdowns and Joanne’s divorce, the end of their plan is in sight. But without the agency and their partner in literal crime, what will they have?
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Identity politics has been a zeigeist-y topic for a few years now with discussion, particularly amongst the arts and entertainment industries, about notions of representation, appropriation, and authenticity. In Seeking Representation, comedian Natali Caro brings together considerations of identity and celebrity to interrogate boundaries of performer, performance, and audience.
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In their second concert of the season and the one coinciding with Easter, The Song Company brought together their year’s theme Higher Ground with images of rebirth, growth, and renewal in a concert of Renaissance polyphony and new modern compositions. Fittingly, then, the concert also showcased the burgeoning talents of the company’s Apprentice Program, the up and coming voices of Australian music.
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It’s the original romcom where the beautiful and sweet Hero falls in love with the equally sweet and valiant Claudio only for their matrimony to be dashed by jealousy and greed. But love triumphs in the end and everyone gets what they deserve.
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While being one of Shakespeare’s less-performed plays, the Merry Wives of Windsor uses many of his classic theatrical elements including disguises, revenge plots, arranged marriages, and plenty of innuendo. With recognisable characters and plot points from other Shakespearean comedies, this rendition also aligns the script with equally recognisable comedy tropes from an Australian context to add extra dimension to the raunch and gossip.
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For city folk, the traditional debutante ball might seem like an outdated idea with unwelcome patriarchal overtones but the deb is still a thriving cultural tradition in many rural cities around Australia. It’s an exciting event where young adults get to celebrate who they are and mark the transition into adulthood all with a bit of pomp and glamour. But this year in Dunburn, the city and country perspectives collide with disastrous consequences for a small town already on the brink of collapse.
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Andrew Bovell’s 2016 family drama Things I Know to Be True has maintained a continued resonance with Australian audiences as evidenced in at least three productions across Sydney in recent years. In the most recent iteration, a fear of change forms the central focus as the Price family faces a year of growing up and letting go.
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Last year the icon Stephen Sondheim passed away and the loss was particularly felt amongst the queer theatre kids (and adults) who grew into themselves through the soundtrack of Sondheim’s love stories. In this celebration of the man’s legacy, Little Triangle present an honorary cabaret with a twist: sweeping, scalding, passionate love but no straights, only queer!
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Night Writes 