Queensland Theatre's newest productions is stunning
audiences with its powerhouse story full of all things footy, bringing community
spirit, thrilling energy and intense physicality to the stage in 37, playing at
the Bille Brown Theatre until 4 May.
Penned by twice-named Tasmanian
Aboriginal Artist of the Year, Nathan Maynard, and directed by renowned
Australian director and proud Noongar man, Isaac Drandic, the co-production
with Melbourne Theatre Company brings together an ensemble of 10 men to portray
a local footy team’s struggle from the bottom of the ladder.
Named after the immortalised
number Adam Goodes wore on his AFL jersey and set within the era of his famous
war-cry, 37 follows the fictional Cutting Cove Currawongs in their fight for
premiership glory, which playwright Nathan Maynard described as a story many
can relate to.
“I won’t go into the themes I
touch on in the work because that’s why I wrote the play, for both the audience
and I to explore them through a creative lens. But for me, the footy in this
play is the vehicle that carries the story and conversation,” Maynard said.
“It’s a play about footy that’s
also nothing about footy.”
Despite the deep themes Maynard
covers within the play, the talented ensemble tackles the heaviness with
humour, energy, and a whole lot of heart, through the vessels of sportsmanship,
authenticity, and integrity, producing a quality performance for both arts and
footy lovers.
The cast features breakout star
and 2024 recipient of AACTA Brian Walsh Award, Ngali Shaw alongside Tibian
Wyles (Black Comedy, Stomping Ground) who portray the two Marngrook cousins,
Jayma and Sonny, with teammates played by Australian on-screen actor, Ben
O’Toole (Boy Swallows Universe), Syd Brisbane (Victory, Night on Bald
Mountain), Mitchell Brotz (Batmania, True Story with Hamish and Andy), Samuel
Buckley (Hyde and Seek, Seduction), Costa D’Angelo (Neighbours, Crazy Fun
Park), Thomas Larkin (Death of a Salesman, Bernhardt/Hamlet), Eddie Orton
(Framed, Touching the Void) and Anthony Standish (City of Gold, Our Town)
“Our 10-strong cast stand against
a backdrop of real, raw footy giving the audience a highly physical and visceral
performance. Through carefully crafted choreographed sequences the game we love
comes alive on stage. It’s nuanced, it’s athletic and it’s beautiful. There’s a
strong camaraderie between the cast, off stage and on which adds to the
richness of the world of 37,” Drandic added.
“There’s a strong cultural layer
throughout 37. We draw inspiration for the movement and choreography from the
origins of AFL football — an Aboriginal game called Marngrook. We share some of
the more confronting aspects of Australian culture in our sports, and we invite
the audience into the changerooms of the Cutting Cove Footy Club.”
The production has hit Brisbane
audiences off the back of its world premiere at Melbourne’s Southbank Theatre,
which has included an array of four- and five-star reviews.
Tickets are
available now for performances at Queensland Theatre’s Bille Brown Theatre until 4 May at queenslandtheatre.com.au/plays/37.
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...
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...
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 boxe...
Comments
Post a Comment