By reinterpreting a classic, Company O taps into a rich vein of social commentary while staying true to the original material.
Written in response to the 2014 Human Rights Commission report ‘The Forgotten Children: National Inquiry into Children in Immigration Detention’, Cat Hope's Speechless is a prime example of the power, weight, and connection music provides in a world that is often divided.
In a time when consumer-authored media is largely a product of digital communities, Flopfest Film Festival is something truly different.
Utilising a range of theatrical and cinematic techniques to portray a story of survival, The Last Great Hunt has created a unique show. Lé Nør [the rain] transports audiences into a world simultaneously different and relatable to their own.
FEMME is an empowering exploration of women and non-binary people taking back control of both their bodies and stories, and demanding we hear them.
SENSE AND SPONTANEITY is a wonderful reinvention of classic literature for a modern audience that will make Austen fans of those not already in the club.
Fisticuffs is a deliciously fringey show. It’s as aware of itself and its peculiarities as much as it's a legitimately impressive set of circus feats.
Silence My Ladyhead is unconventional theatre at its intense, captivating, and downright breathtaking best.
LET ME FINISH is a hilarious all-girl journey through the pitfalls of being a girl, a woman, and a sexual object that has audiences gripped all the way to the end.
Keren Schlink explores this concept through song, puppetry, and a whole lot of existential torment in her one-woman-show Underemployment: A show about not enough work and way too much TV.
You want to know more about The Dark Room.
4 ½ stars
You need to know that there is the very real possibility that, during this show, you will die.
After four million YouTube hits and sold out shows since its live-action inception in 2012, John Robertson brings The Dark Room, to Perth audiences. This twisted live-action text adventure game promises a riotous hour during which Robertson variously leers at, cajoles, and tortures the crowd as they navigate the digital confines of the titular room.
Our host stalks the stage, clad in a cyberpunk costume, with his blond locks hanging down around his highly malleable face. He’s a 1970s science fiction illustration come to life, leaping off the page of any number of Warhammer 40K manuals.
Members of the audience are plucked, entirely not at random, to select from up to four options and try to escape the dark room. Robertson narrates their futile attempts to escape with unbridled savagery and enthusiasm, occasionally pulling his head back in shock and glee at the choices made.
It’s easy to see that Robertson has a deep love of early gaming nostalgia, but the show doesn’t rely on the audience sharing that love to appreciate the humour. Sure, you’ll get a few more of his references if you do, but the first night’s performance - with the audience ranging from a septuagenarian to a particularly unfortunate tween - was proof that there are vast quantities of fun to have regardless.
Robertson is clearly having an enormously fun time with this show, and you will too.
YA DIE! YA DIE! YA DIE! YA DIE! YA DIE!
Tickets available from the FRINGE WORLD website.