‘37’ was chilling. 

The local footy team of this small coastal town has spent too long at the bottom of the ladder. But then a new hope arrives: the Marngrook cousins. Named after the Aboriginal game that inspired AFL, they’re match-fit to bring home the team’s first flag in forever. 37 juxtaposes choreographed sequences of Marngrook and the modern game with the hilarity and at-times questionable banter found within sporting clubs around Australia.

As ‘37’ embarks on its second tour, it’s no surprise that the show delivered yet again, leaving the audience thoroughly impressed. The cast, led by Ngali Shaw, commanded every scene and interaction through his vulnerability and meaningful choices behind Nathan Maynard’s words. Shaw’s portrayal of Jayma was grounded and powerful, creating an earnest character through his direct and deliberate approach. His performance resonated deeply, capturing the raw emotional stakes of a young man navigating identity, expectations, and the weight of history. Alongside Shaw, a stellar all-male cast carried the currency and importance of this narrative. Syd Brisbane (The General) is impossible to overlook due to the relatability of his character. His stern yet subtly insecure presence generated a familiar figure of authority—one that many would recognize from their own experiences in the world of local footy.

Isaac Drandic’s direction was remarkably evident throughout ‘37’. Drandic cultivated authentic interactions between small-town football players, crafting moments of camaraderie, conflict, and vulnerability. By fostering the significance of ruthlessness within the game and within the players themselves, his scenes grew intense and jarring, immersing the audience in the emotional weight of the story. Drandic collaborated with Waangenga Blanco as co-choreographers to interweave the traditional movement of Marngrook with the physicality of modern Australian rules football. This fusion of dance and sport was one of the production’s most striking elements, reinforcing the deep cultural roots and significance of the story being told. The sequences were both breathtaking and visceral, elevating the production beyond a simple sports drama into a deeply moving theatrical experience.

Dale Ferguson’s set design was visually simplistic yet compelling. The familiar locker room setting held the characters close, becoming a space where they fought, bonded, and revealed their deepest fears and desires. This intimate setting amplified the personal stakes of the narrative, creating a microcosm of masculinity, tradition, and transformation. Despite the traditional focus on the stage, the actors made full use of the entire theatre, drawing the audience into the performance in every possible way. Due to this immersive staging, it was near impossible not to feel every emotion and reaction played out on stage.

The technical aspects of ‘37’ tied the production together as a considerate and well-executed piece of theatre. Ben Hughes’ lighting design was subtle yet effective, shifting between moments of stark realism and dreamlike intensity to mirror the internal and external battles faced by the characters. James Henry’s sound composition was equally impressive, seamlessly blending the sounds of the game, the echoes of country footy fields, and traditional Indigenous music to underscore the story’s deep cultural connections. Neither element was ever distracting but instead served to heighten the intense emotion of the narrative, reinforcing the show’s impact without overpowering it.

At its core, ‘37’ is a powerful reminder of the Australia we live in—its beauty, its struggles, and the enduring spirit of its people. It does not shy away from hard truths, nor does it offer easy resolutions. Instead, it presents a raw and compelling exploration of identity, belonging, and reconciliation, set against the backdrop of a beloved national sport. If you have the opportunity to see ‘37’, don’t hesitate. This is theatre at its finest—bold, heartfelt, and unmissable.

“37” performs until Saturday, 22 February 2025 at Southbank Theatre, The Sumner. For more information visit their website https://www.mtc.com.au/plays-and-tickets/whats-on/season-2025/37/

“Inevitable”

4 meters x 40cm 

2024

In “Inevitable,” I explore the tension between the intimacy and isolation inherent in growing up—a journey that, while unavoidable, often feels deeply personal and confronting. Through photography, I delve into the quiet spaces of adolescence, capturing moments of starkness, expansiveness, and vulnerability. These images reflect the fleeting essence of youth, where emotions are both raw and hidden, highlighting the solitude that can emerge even during the most connected times. Inspired by Justine Kurland’s exploration of youth in unconventional spaces, particularly her 1997-2002 collection, “Girl Pictures,” my 2024 series offers a personal reflection of my own experiences. It serves as a testament to my ongoing exploration of the connection between people and the feelings of isolation. To convey the diverse experiences of coming of age and the persistent sense of loneliness, I use a range of paper textures. Adhesive fabric captures expansive landscapes, smooth pearl portrays portraits, and torchon adds depth to collage pieces. These choices represent different facets of growing up—the smoothness of youthful appearances, the rugged layers of experience, and the vast spaces echoing isolation. This series is a visual guide, inviting viewers to see themselves in it and connect on a personal level.

‘Topdog/Underdog’ was an emotional marathon.

Suzan-Lori Parks’s hilarious, vibrant and moving Topdog/Underdog follows two brothers as they wrestle with the realities of the American Dream. 

The two characters in this show, Lincoln and Booth are hustling to make ends meet: Lincoln as a whiteface Abraham Lincoln impersonator and Booth as petty thief and wannabe card-game hustler. What unfolds reveals siblings that are haunted by their past, unsure of their future, and bonded by history, familiarity and mistrust.

Damon Manns (Lincoln) and Pas-Samuels (Booth) both delivered captivating and impressive performances. The dialogue heavy content, and the emotional turmoil they both experience as the show unfolds, was delivered with delicacy and passion. Manns portrayal of Lincoln was grounded and powerful. Creating a reliable character through his direct and deliberate approach. Samuels portrayal of Booth was energetic, erratic and showed the insecurity of the charter.  This created an intriguing contrast between this complex pair. Both Manns and Samuels ability to jump to new and heavy themes invited the audience to be a part of this intimate world. The talented actors generated a shared stand out performance. ‘Topdog/Underdog’, provides a meaningful exploration of how individuals cope with their past and the forces that shape their destinies. Manns and Samuels performance was nothing short of exceptional, as they delivered the true of the purpose of this play.

The idea of power and status was a very evident ideology that the brothers wished to seize. Besides this being clear in the dialogue and acting, the considered layout of the theatre and set highlighted this theme. To explain, the audience was seated around the stage, looking into the deeply nuanced lives that this narrative is surrounded by. The set included a subtle level to highlight a status difference between Lincoln and Booth. Sophie Woodward’s set design was simplistic yet so detailed creating a captivating experience. The one room set was of the basement home that Lincoln and Booth lived in, where they experienced a range of challenging confrontations and enlightening interactions. Woodward’s set portrayed a world that established the life these characters have lived, and illustrated assumptions on what may occur next. Dan West’s sound design contributed significantly to the production, through the use of a considerate playlist. This dramatic sound design was used to set the tone and compliment distinct moments within the play. West’s sound design was also used to navigate between scene changes, in a memorable way, as it helped maintain the immersive atmosphere that the audience was looking into. 

Bert Labonte’s direction and craft were remarkably evident in this production. Labonte initiated a world that deepened the intricate relationship between the two brothers. By fostering moments of genuine honesty and intimacy, as well as scenes of intense confrontation and physical tension. Labonte skillfully highlighted the theme of contrasting individuals dealing with shared childhood trauma. His direction not only highlighted the emotional depth of the play but also enhanced its overall impact, largely due to the transparent performances he drew from the actors.

Melbourne Theatre Company’s production, ‘Topdog/Underdog’, tied together a range of production roles and skills to put on a remarkable show, delving into often confronting and intense themes. 

This production of ‘Topdog/Underdog’ leaves very little to not love. It feels like a challenge to try to justify the impressive nature of this show, making it difficult to not appreciate this piece of theatre. 

‘Topdog/Underdog’ performs until Saturday, 21 September 2024 at Southbank Theatre, The Lawler. For more information visit their website https://tickets.mtc.com.au/production/18592 

During the performance, I observed the stage manager call the show and watched the assistant stage manager (ASM) and deputy stage manager (DSM) pre-set props during intermission. I was also on comms throughout the show, which I thoroughly enjoyed as it allowed me to actively participate in the collaborative and communicative aspects of stage management.

My Year 12 Theatre Studies play was “The Crucible”. As an ensemble of 20 students we were required to produce and perform this production.

I undertook a director and stage management role. It was a great opportunity to implement and explore my own creative ideas and processes with a full cast and crew. I worked tirelessly researching the complexities of the script, to ensure productive rehearsals. As the director I really enjoyed choreographing the ritual in a confronting and compelling manner which powerfully opened the performance.

As the stage manager, I was responsible for pre setting the theatre, cueing light and sound and preparing the cast for the performance. I enjoyed looking after the company with care and support.

Throughout the school year, we spent several hours a week at rehearsals, refining our craft.

I loved that I was involved from the initial brainstorming and casting of this production, through to bump out and discussion on the success of the play. I experienced what is involved from the beginning to the end of the process further developing my skills.

In June of 2024, I was invited to attend a week long work experience opportunity hosted by Melbourne Theatre Company, to observe rehearsals for “A Streetcar Named Desire”.

This was motivating opportunity, as I witnessed the start of the rehearsal process unfold. This opportunity solidified my determination to work in the industry.

Throughout the week, I observed the casts first table read and initial introductions. I got a tour of MTC HQ, which was so fascinating as so much work is completed on the one site. During the last two days, I observed the actors on the floor for the first time. As “Street car” was utilising a double story revolve set, it was really interesting to see the creative team manipulate and experiment with how it can add to the depth of the narrative.

This experience taught me more about how a professional theatre company operates and the many roles.

At the beginning of 2024, I meet the director, set designer and technician of “Cracked Actors”, an independent theatre in Melbourne, when they visited my school. I saw an opportunity to learn from them and asked if I could undertake work experience.

During my multiple visits to the venue, I saw the many facets that are involved in running a successful independent theatre company. I learnt how the founders of Cracked Actors maintain their business through supporting many different works of theatre.

Throughout this opportunity, I assisted with a program where Cracked Actors help put on a show for secondary students. I also observed a technical run for a small show called, “Remember Me”.

I really enjoyed learning first-hand about the operations of an independent theatre company and the many elements involved.

In June of 2023, I participated in the online careers week conducted by Melbourne Theatre Company. During this experience, as a team of students, we completed a range of informative workshops, tours of theatres, script writing, and spoke to professionals in the industry. I learnt a range of new team building skills, and received a great insight into theatrical intensions.

Below I have attached the schedule we followed throughout this careers week:

At the end of November 2023, I attended the Moulin Rouge (Get Technical!) event.

This experience was developed to introduce year 10-12 Secondary School students to the technical roles in the industry. Staff from the many technical aspects such as costume, lighting, set and stage management, shared their experiences. They spoke about how they got into the industry, the work they undertake and skills needed for each role.

This event inspired me further and confirmed by desire to explore stage management as my career path.

The Victorian State School Spectacular explores Melbourne’s greatest song and dance phenomenon and celebrates the enormous talent that exists in Victorian government schools. The VSSS consists of approximately 3000 performers!

For the 2024 VSSS, I am working as a stage manager within a team of 15 other dedicated and talented students. My role consists of helping run rehearsals at multiple venues across Melbourne, and rehearse my own track during full runs. For the two shows, at John Cain Arena, I have been appointed the role of cast movement for the Principle Dancers. This is a important role that I feel very lucky to have. During production week, at the arena, I looked after 26 dancers, ensuring they made all their cues, were organised as well as calm and grounded prior to performing. I built strong relationships during this time, which ensured the cast trusted me. Further, the Senior Stage Manager has asked me to return to the VSSS next year, which I am really looking forward to.

This is a 6 month experience for the stage management team. During my time, I have refined a range of management skills, such as patience, clear communication, and further developed my leadership. I have been guided by very talented team leaders. I have enjoyed being surrounded by so many other young students who love performing arts as much as I do.