Skip to main content

‘PASHUN’ // TheatrePunk Co.

 What happens when masculine, feminine, and a touch of envy energy are amplified in modern society? You get ‘PASHUN’ by TheatrePunk Co.!

‘PASHUN’ is a comedic theatrical exploration of gender and relationships, infused with fantastic absurdist techniques. Written by Harrison Mills, it offers a unique night out that delves into the intersection of queer identity and the “straight minority.”

Harrison Mills has skilfully interwoven absurdist techniques into the fabric of queer and heterosexual love, resulting in a profoundly thought-provoking experience. Throughout ‘PASHUN’, they masterfully employ stereotypes, drawing our attention to their nuances. From the hyper-masculine, reminiscent of an Andrew Tate figure, Sigma, to the unmistakable Starbucks-loving pink aficionado, Tiff, Mills has ingeniously crafted characters that evoke both love and disdain throughout the production.

Under the direction of Joshua Price, the piece is minimalist but effective. The utilisation of packing boxes as the set creates the fringe atmosphere, essential for the play’s essence. The blocking is natural and realistic, allowing the actors to fully inhabit their characters, a testament to Price’s directorial prowess. However, a minor issue arose when rubbish used in one scene remained strewn across the stage for the entirety of the production, potentially symbolising “university life” but inadvertently distracting both the audience and the actors.

Phoebe Quinn’s lighting design is aesthetically pleasing, and their ability to work within the constraints of BackDock Arts’ basic lighting setup is commendable. they orchestrate beautiful moments that enhance the emotional impact of the scenes. Special mention goes to a scene where Conner uses a laptop to illuminate their face, creating a highly poetic and effective visual.

Keegan Bell, as Conner, delivers a multifaceted performance, seamlessly transitioning from the heartache of a breakup to the pinnacle of romance that Conner aspires to. Rachael Woodnett, as Lena, complements Bell impeccably. Lena, the edgy character of the group, reveals their reserved nature until it’s time to shine and get involved in other people’s affairs. Together, Bell and Woodnett craft an intertwined and poetic love story that unfolds minute by minute.

The trio of “Girls, Gays, and Theys,” Naticia Slade as Emma, Zara Chandler as Tiff, and Cullyn Beckton as Kai, provide fantastic comedic relief throughout the production. With sleepovers, exuberant dance lifts (think ‘I’ve had the time of my life’), and all-around craziness, Slade, Chandler, and Beckton showcase their remarkable talents, bringing to life a captivating array of characters with their ups and downs.

Emma Stratton, in the role of Sigma, emerges as the standout of the production. Stratton masterfully portrays Sigma, a character who draws the audience’s anger while maintaining an irresistible allure. The toxic masculinity oozes from Sigma throughout the entire production, culminating in their ultimate demise. Scott Kift, as Andrew, Sigma’s roommate, struggling university student and high school tutor, delivers a compelling performance. Kift skilfully conveys Andrew’s mounting frustration with Sigma, leading to a cathartic release and Sigma’s ultimate demise.

Lastly, Ewan Robertson’s versatility was showcased as they take on multiple characters throughout the production, most notably as Rory. Robertson’s ability to seamlessly transition between characters is a testament to their exceptional acting skills.

‘PASHUN’ offers a rare and delightful night of absurdist theatre. Harrison Mills has crafted a remarkable piece of theatre, and his potential as a world-class playwright is evident. Keep an eye out for TheatrePunk Co. and their upcoming works, which continue to push boundaries and challenge traditional theatre norms.

Original Article

Comments

Popular posts from this blog

Review: The Haunting - Tugun Theatre Company

Written by Jake Goodall There is nothing better than heading to the theatre on a cold & rainy night to watch a gothic play about a haunting, and Tugun Theatre's recent production of The Haunting proved there is still a space for horror ghost plays in the world.  Based on the Charles Dickens Novel (and adapted by Hugh Janes), the story follows a young book dealer, David Filde, when he is employed by a former associate of his uncle to catalog a private library, he finds an incredible array of rare and antiquated books. But as a series of strange and unexplained events conspire to keep Filde from his work, he realises that if he is to convince his skeptical employer that the mysterious phenomena he is experiencing are real, they must journey together to the very edge of terror, and beyond. This reviewer was lucky to see the West End hit production The Women in Black recently at the Playhouse, QPAC which set the bar for horror ghost stories, and with the resources available to them...

Review: Medea - Queensland Theatre

Written by Grace Wilson From little things, big things grow. It’s a saying that is so Australian and so rooted in our culture. It inspires and it gives hope. Everyone knows of this saying and the song attached to it, but never have we experienced a situation where this saying comes to mind. That is until  Queensland Theatre’s production of Medea by Anne-Louise Sarks and Kate Mulvaney, directed by Daniel Evans. This adaptation of this famous Greek tragedy focuses on the perspective of the two sons of Jason and Medea. In the original myth, we see little to no actual story from these two young boys - so to see an adaptation from a frankly inaccessible storyline in the traditional drama was a bold and incredibly smart choice. To truly appreciate the way the playwrights took this traditional myth and flipped it on its head, a knowledge of the actual myth was required because the subtleties of references could easily be missed. The play ranged from blatant acknowledgments of the traditio...

Review: Freshblood Festival - Vena Cava

Written By Thor Morrison Upcoming creatives need a place to experiment, to prosper, to explore, and even to sometimes miss the mark. It is essential that spaces that allow this to happen exist, especially in a world obsessed with perfectionism. The Freshblood Festival is an annual event run by QUT Student Theatre Company Vena Cava, focused on young writers and performers, and it does just that. It provides a space for the new and upcoming creatives of Brisbane and surrounds to experiment, have fun, and create really exciting performances. Held at BackDock Arts in Fortitude Valley, and running over two consecutive weekends, it is a massive endeavour Vena Cava have given themselves. 14 independent shows, two play readings, and 8 music acts ensure that Freshblood has something for everyone to enjoy, and shows the variety and scale of the Festival itself. Drama Dispatch was able to attend most of the second weekend, seeing a total of seven shows and a play reading, and was greatly impresse...