Reviews

NaGL references many of the iconic elements of absurdist theatre; the zany language, the representation of mundane domestic existences, and the futile and repetitive nature of daily routines that reinforce a sense of a lifeless existence. This play goes further with its criticism of, and cynicism towards, a multicultural Australia – a reality that is more difficult to live than to conjure up culturally.

The ‘agreement’ of the title is the almost always unspoken understanding of the hierarchy that underlies a friendship.  As in ‘You’re the pretty one, but I’m the smart one’, or it’s Master and Apprentice, Teacher and Pupil, Mentor and Mentee.  Forget an association of equals!  ‘Unspoken’ because to spell it out would be just too stark or cruel.  But not all parties to these arrangements are necessarily aware of them… This turns out to be the state of play between Mathilda (Emma Cox) – the ‘smart one

Victorian Opera does some amazing work. They appear to have many streams, all running concurrently. This opera involved their Youth Opera performers. It was also a world premiere.

All the performers were between fifteen and twenty-five and full of the exuberance of youth. They were also well drilled. The venue worked well, as younger members of the audience could observe the orchestra in the open pit as well as the action on stage.

The title may suggest social satire, or even a wild parody of some kind - but Miss Revolutionary Idol Berserker is almost beyond categories. Beyond words, perhaps...

Upon entry into the arena of the 'Berserker', socks and shoes are required to be cast off, ponchos are deployed for our own protection and preservation, and earplugs are ominously provided...

As it turns out, a sensible precaution. Spinal Tap's amplifiers may go to eleven, but for this particular troupe, 'eleventyleven' would barely begin to describe the din they create!