So let me just be forthright: Giggleback Kidz! The Reunion Tour is stupid dumb fun from start to finish and I really wanna emphasise that as a good thing. This isn’t a deep show, or a show with huge intentions, or strong characters, or anything really—it’s just fun. And that seems to be all the team behind the show wanted to create, because Giggleback Kidz! doesn’t ever stray far from its key cause of being fun. Sure, it plays on all the tropes that ‘reunion’ shows tend towards, like sexual drama, or dashed dreams, or the entitlement brought on by childhood stardom—but it’s not really concerned with those things beyond using them as a way to drive the plot for the play’s fifty-minute runtime.Read More
What Dormant leaves us with is a series of impressions—straight from writer/director Lily Daud’s mind—that are exactly representative of an issue encountered early-on in so many creative careers: having so much to say that you bundle everything together and make the mistake of saying it all at once.Read More
Habitus of Concrete Flesh is not only a site-specific Butoh show, but is also an immersive Butoh show with a name like Habitus of Concrete Flesh. In terms of how Theatre of Thunder went about presenting this as a whole, the performance comes across as pretty inaccessible—which for an Anywhere Festival show is exciting in ways that something like a restaging of Shakespeare could never be.Read More
I’m going to begin this review with the bold declaration that Love Letters to Fuckbois is an exact distillation of what Anywhere Festival should be. In form, it’s simple—two women (Lia Stark, Melina Wightman) stand up and speak with awkward confidence into microphones. They introduce faux drinking games to the crowd, laugh at once together and at each other, and encourage the audience to laugh with them.
The show is simple in content, too: Wightman & Stark pull out random letters from a jar, each addressed to a fuckboi from their past, and through this lens proceed to give us a delightful sample of their romantic and sexual histories.
They do this for half an hour.
It’s awesome.Read More
Argo’s latest show, Flow, feels like the kinda show that characters in a stylish New York drama like ‘Girls’ might have attended. This isn’t necessarily a bad thing. It just means the work is gorgeous, high production-value, and safe. And those are all okay things for a work to be. Because by being those things, what Argo managed to do was bring together the most diverse audience I’ve ever seen in one place in this town, and then let them mingle and shift comfortably together. The success of Flow is a testament, more than anything, to the universal language of live instrumental music, and the gorgeousness of the Spring Hill Reservoirs.Read More