Reviews

This performance aims to raise awareness of the disastrous effect of climate change on the island nations of the Pacific – who we are urged to see as just that, a nation of islands linked by common heritage. Activist and performer Latai Taumoepeau prefers to think of them as “Oceania: a sea of islands with no borders that were forged apart by colonisation” and are experiencing the worst effects of climate change, though they have contributed least to it.

Q44 is such a well kept secret that even I am reluctant to talk about them for fear exposure might burst the bubble of excellence in which they exist. But they deserve, and MUST be talked about, because since their inception in 2013, they haven’t put a foot wrong. Their under-budgeted productions of always excellent plays, in the tiny space that is the theatre, are full of passion, commitment, fine acting and a thirst for excellence.

Bijou Creative is a theatre group committed to providing good strong roles for women. Directors Charlea Edwards and Karen Kluss brought a bleak and harrowing true life story to Hobart with The Hatpin, in an appropriate theatre space. The Peacock Theatre, with a rock face as the rear wall of the stage, was a suitably stark backdrop against which to tell this sad but brave tale.  

The Hatpin is an Australian musical based on the 1893 Sydney case of baby Horace Murray, and tells the story of his teenage mother, Amber, and the women who helped her.

This is an ambitious play for any company to undertake but director David Burrowes and his creative team have honoured both the mood of Tim Winton’s original story and a script that is almost filmic in its complexity. Tom Bannerman has designed a spare, stark set using almost the full width and most of the depth of the stage, which Benjamin Brockman has highlighted with shadowy, moody lighting.