18 December 2018

What Melbourne Loved in 2018, part 7

Today, we celebrate more indie shows.

Penelope Bartlau
Artistic Director, Barking Spider Visual Theatre
Creative Projects Director, Women's Circus


Penelope Bartlau. Nicked from FB, possibly taken by Jason Lehane.

Favourite moments in 2018
1. MUST's End Transmission: the most insane, intricate set I have ever experienced (go Jason Lehane!) – a spaceship with crystals growing and secret doors and hidden rooms

2. Women's Circus 2018 Cabaret PLACE  because I laughed so hard, gasped and cried.

3. Daniel Lammin's Sneakyville, at fortyfivedownstairs, for what was not revealed and for fabulous, unexpected directorial choices.

4. In a Heartbeat at La Mama, just before Fringe, because audiences had the best time.

Looking forward to in 2019
More unexpected work in weird-arse places.

SM: Goodness, I adored In a Heartbeart. I really did have the best time.

Fleur Kilpatrick
Playwright, director, enthuser 

Fleur Kilpatick and the company of "Terrestrial", State Theatre Company SA
Photo by Kate Pardy

Favourite moments in 2018
It was in The Bachelor Season 17, Episode 5. It was a very quiet moment. The Bachelor had just approached one of the contestants and had 'can I steal you for a second'ed her. They left the stage. In an episode of The Bachelor, the camera would have followed them but, in that theatre, we did not. They were gone and we were left to stare at the other contestants. The ones who weren't picked. And they sat. In silence. One ate a chip. That crunch of the chip on that silent stage, these candidates at love held in stasis: that was my favourite moment.

Looking forward to in 2019
I'm very excited about the programming from Theatre Works, Darebin and, up in the south-east, MLIVE. But, most importantly, I am looking forward to us as a community confronting some demons in 2019 and, hopefully, making our workplaces safer, more respectful and more generous as a result. I'm really hopeful that 2019 will be the year we do away with the idea that there are different sets of rules for creative work places: everyone has the right to feel safe and respected at work. Bring it on.

SM: It's a bit meta, but I love that Fleur's new work Whale has already been mentioned a lot as something people are looking forward to in 2019.

Tim Byrne
Theatre critic, Performing Arts Editor – Time Out Melbourne

Tim Byrne. Photo by Sophie Reid

Favourite moments in 2018
I can pinpoint the precise moment this year because I had a jolting physical reaction to it, as involuntary as it was thrilling. At one point in Stephanie Lake's Colossus the cast of dancers rushed screaming at the audience and the kinetic energy, that sense of the potential and the danger of the human body en masse, felt like a shock of electricity through my own body. It was a terrifying moment, political and primordial at once, and one I'm unlikely to forget.

Looking forward to in 2019
Given that, I can't wait for Stephanie's follow-up work at Malthouse for Dance Massive, Skeleton Tree. It is about grief and the ritual of grieving, and should prove a highlight of the dance calendar. I was very pleased to see Stephen Nicolazzo tackle and triumph with Tennessee Williams's Suddenly Last Summer this year; I'm hoping to see him turn to Joe Orton next, maybe with (hint, hint) Loot or Entertaining Mr Sloane. They'd make a good match, that pair.

SM: I still read Tim's reviews, especially if I totally disagree – oh, I do – or if it's a show I didn't see. I also love that he notices if I'm not around.

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