Reviews

Australian Director Roslyn Oades is known for her pioneering work in the field of headphone verbatim and audio-driven performance. Working with Sound Artist Bob Scott, they have created what the host who greets us informs us is 35 minutes and 33 seconds of sometimes challenging, often compelling theatre that reveals the real life experiences of the sleepless who reach out to The Nightline. In late 2020, Oades and her collaborators put out a call, ‘If you’re an insomniac, night owl or dreamer we want to hear what keeps you up at night’.

Emma Beech describes her work as “direct address, and montages stories, gestures and physical narrative”. The Photo Box is no exception to this. As she rummages through the photos that stand as memorials to a place and time, she invites us to get to know her family, the Beechs of Barmera and the foibles, traditions and inner workings that make them tick.

In common ground[s], two mature and esteemed women command the stage; one with dark skin, one fair-skinned, both clothed in flowing, floor-length matte black gowns.  Germaine Acogny & Malou Airaudo are both now in their seventies but move with enviable fluidity, strength and depth of expression.  Airaudo was one of the formative dancers at Pina Bausch’s Wuppertal Dance Theatre from the early 1970s and is still a revered teacher and choreographer.  Senegalese dancer and choreographer Acogny, known as the mother of contemporary African dance, established her

Watershed is a magnificent piece of theatre in every way! Commemorating 50 years since the famous murder and drowning of Dr. George Ian Ogilvie Duncan in Adelaide on May 10th 1972 and co-commissioned by Feast Festival, Adelaide Festival and State Opera South Australia, supported by Arts South Australia, this production is landmark production that deserves to tour Australia!