REVIEW | TAKEAWAY | Workplace dynamics take on a whole new meaning during adversity

Review | Laura Money

We’ve all been there – spending more time at work with your colleagues than your family. The strain that places on each relationship, including with your workmates. Liz Newell creates an insulated yet complicated break-room kitchen sink drama in TAKEAWAY, a darkly funny show centred around the employees of an Italian restaurant. The script has all the hallmarks of Newell’s writing – perhaps crammed a little too full with melodramatic plot points – and proves that it’s easy to have an inclusive work that doesn’t virtue signal, merely reflects current times respectfully. Presented in conjunction with Curtin’s Theatre Arts and the Hayman Theatre Company this show is the perfect vehicle to showcase an ensemble cast in which each performer gets their moment to shine.

Hayman Theatre Company performers are worth keeping an eye out for. They all perform their roles admirably – yes there is still quite a bit of student actor there but it seems to dissipate as they get into their roles more. Keely Johnston, for instance plays Tyler a waitress who has aspirations of performing so rehearses her dance routines while heating up her food. The routines and ‘rock eisteddfod’ facial expressions are all too real, sometimes bleeding into her real performance. Ultimately there are enough confrontational scenes for each of the performers to have their dramatic monologue moment – and each of them do it well. Lou (Kate Naunton-Morgan) spends the majority of the time frowning as her character is required to continually put out fires whilst not really able to cope. She has some touching moments with Clem and learns to bond with her colleagues in ways she wouldn’t have dreamed before the events of the play.

Tiandra Seal plays Clem who no Lo get works at the restaurant yet hangs out there all the time. She delivers some heartfelt lines and has a really punchy argument with her best friend Vas (Tom Cartwright) and while at times she borders on stereotypical moves like tearing up and yelling out a monologue she suppresses these inclinations and grows within the scene. Equally, Cartwright has some killer lines that he sometimes delivers a bit too fast but when he slows it down he becomes the king of deadpan. Cartwright isn’t afraid to look stupid either and his get-up when going to dispose of a dead rat is absolutely brilliant!

Next up are Annalisa Cicchini as Charity and Emilie Tiivel as Darcy. These two definitely have the strangest dynamic – obviously respectful of each other but also a little distant. Their relationship is like that if siblings Cicchini delivers some blistering lines and has great timing. Her panic attacks and Tiivel’s subsequent calming down could be bigger as I feel she is holding back a little. Tiivel is a quiet and affable Darcy. They are a character that’s usually in the background and everyone gets onside with their identity – because Tiivel plays Darcy with such charm, the audience are horrified at the prospect of them being in trouble.

Speaking of sweethearts it’s new girl Alma (Zoe Garciano) and resident party animal Danny (Tom Ford) who round out the cast as loveable fan faves. Garciano is so cute as Alma, taking it on the chin when nicknamed Elmo and happy to volunteer for anything. She doesn’t lose her cool when taken advantage of and has everyone cheering when she finally stands up for herself. Her impassioned monologue about their owner being a person with a family is a lovely moment in theatre. Danny is dealing with caring for a family member with cancer. Ford plays him as the most upbeat and fun-loving guy and his stark contrast when breaking down is done very well.

TAKEAWAY is a clever and darkly funny piece. This fresh look at the workplace dynamic is funny and heartfelt. The script is sharp and the actors have great camaraderie together creating a warm environment you wish you could join!

You can still check out the crew of TAKEAWAY at The Blue Room Theatre until 25th February 2023. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2023.

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

SUMMER NIGHTS 2023 | Conception | 4 Stars

Review | Laura Money

In a world where even conception is controlled by the state, three people come together in an unexpected rebellion. Written and performed by Lainey O’Sullivan, Conception is a deep dive into autonomy, relationships, control, and the separation of sex and intimacy, with climate change subtly underpinning the whole piece. Opening with a stunning sequence where O’Sullivan and Shaun Johnston simulate a shower that gets very hot and steamy, the two then discuss baby names as they then go about their day. There are a few hints that all is not what it seems, from the water being shut off because it’s rationed to the fact that Anna drinks wine while seemingly pregnant. All becomes clear when Ruth (Asha Cornelia Cluer) arrives – she is the surrogate (well things are slightly more complicated than that) and appears to have suffered a miscarriage. What follows is a gritty descent into pushing moralistic boundaries, sexual autonomy, and relationships.

Dynamically directed by Samuel Bruce, movement and stage directions breathe life into the script – breaking up the tension of heavy dialogue with witty and clever sequences. The intensity of movement creates physical divides, as each character literally stands with who they back up. Anna sharply moves between Ruth and Chris, convincing them to pair up and conceive naturally. The act of intercourse cleverly mirrors the beginning when Anna and Chris were intimate, and as O’Sullivan puts on a stoic visage while preparing vegetables for a quiche, Cluer and Johnston initially awkward in their movements stick to the door frame. Vegetables are grated and eggs beaten as the intensity increases – Cluer and Johnston no longer confined to the shadows of a threshold but taking up the main space passion clearly increasing. Although initially her idea, O’Sullivan as Anna appears stricken when probing into Ruth’s experience with her husband. Feelings become heightened and the show twists and turns, churning up every emotional response.

Conception is a clever piece of theatre that puts characters in incredibly intense situations. It questions how far we would go to get what we want and even whether sexual intimacy and sexual intercourse can be separated. There are no real answers, the play is an examination of these dynamics with great imagery and just the right amount of dramatic tension. All three performers are utterly believable, creating a few moments where you might forget to breathe.

You can catch all the action at the The Blue Room Theatre until 11th February 2023. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2023.

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

SUMMER NIGHTS 2023 | 600 Seconds – AFTER HOURS | 4 Stars

Review | Laura Money

600 Seconds – AFTER HOURS is the final installment of Summer Nights program where each act has ten minutes each to perform an original work. The AFTER HOURS pieces all focus on things that come alive as the sun sets. There’s body horror, schlock, transformative and uncanny works, as well as hilarious political satire.

Imaginary Sounds devised and performed by David Mitchell and Portia McDonald is spoken word set to a blistering soundscape of pulsing beats and sounds just as convoluted as your brain. McDonald lays out a frenzied and anxious beat as Mitchell speaks in a loop his anxiety overtaking his entire physique. The two move in an almost zen like way to overcome their overwhelming fears. Mitchell repeats the opening words but this time he has achieved catharsis.

Nagini – The Serpent Legend by Danisa Snake is a striking piece of movement that speaks to primal feelings and colonising or taming the exotic other. The Nagini moves with impressive serpentine grace, writhing and slithering in an impressive display of liquid movement. This piece is aesthetically impressive as well as stunning in its wider message. Danisa Snake will have you convinced that they cannot be contained.

Uncanny (V)ally by Matt Aitken is so funny as it revisits 90s and early 2000s phenomena through the healing teachings of a guru. Combining contemporary meditation practices with the pop culture of millennials it’s a clever examination of the appropriation of both by generation Z. It’s ridiculously silly, I lost it when the Spice Girls ‘Too Much’ is revealed to be the soundtrack of the guru. Along with Windows 95 imagery, Lynx deodorant, and the ‘Ooga chucka’ Ally McBeal dancing baby this is the real 90s – it can only come from someone who has experienced it, not someone who streams Friends on Netflix and has a Central Perk T-shirt from Typo.

Step On All Men is Hot Blonde Slut at their finest. Beginning as a B-movie parody complete with creepy uncanny mask, the show descends into pornographic farce – reimagining the apocalypse movie as sexual fantasy. The Hot Blonde Slut is disar

You can catch all the late night action at The Blue Room until 11th February 2023. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2023.

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

SUMMER NIGHTS 2023 | Bright & Bold: Memoirs of a Desk Goblin | 4 Stars

Review | Laura Money

Dureshawar Khan is a Desk Goblin. What is that, you ask? Allow her to tell you in Bright & Bold: Memoirs of a Desk Goblin. The show is a snapshot of Khan’s time working as a receptionist in a tattoo parlour – back when this baby was just finding her feet, still called Ray because that name was more palatable to Aussie tongues, and in the most vulnerable time – the cusp between teenager and young adult. Bright & Bold is more than a memoir – it is about finding your identity, navigating the world as an adult, and ultimately being comfortable in your own – tattooed – skin. Brilliantly interweaving a history of feminine tattooed bodies and focussing on some home-grown heroes who blazed a trail for Australian women tattoo artists with her own tattooing journey, Khan is a brilliant storyteller. Her lilt switches between informative and imaginative, lighting up when recalling the feelings generated upon various encounters with tattooing and tattoo paraphernalia.

This memoir is from a time in Khan’s life where she was a little lost, still studying and getting rejected for every job under the sun, and a chance encounter in a tattoo parlour led to a true feeling of belonging. Khan delights in describing her antics as a Desk Goblin – alright I’ll tell you what it is – someone who does all the miscellaneous tasks on top of admin at a tattoo parlour. Khan recalls joyfully tearing bits of paper towel in preparation, ordering ink, soothing people – oh and putting up with people’s high-maintenance demands! The wistful nostalgia breathed into this memoir piece and the reverence placed upon the tattooing world is palpable. Khan found who she was in these places and with these markings carving their way straight to her soul. Deeply rooted in memories of heritage, each tattoo but especially the ceremonial markings on her chin represent a different part of Khan. Her defiance in the face of conservatism and conformity are writ large on her beautifully drawn canvas of a body. This is a coming of age story that leaves more space to be drawn on – but doesn’t ‘ragrat’ the ink already spilled.

You can find out what it’s like being a Desk Goblin at The Blue Room Theatre until 11th February 2023. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2023.

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

SUMMER NIGHTS 2023 | Yee Howdy | 4 Stars

Review | Laura Money

Clara Cupcakes is The Cowgirl in her hilarious solo show, Yee Howdy. No, not a cowgirl but The Cowgirl. The show sees the intrepid Clara as The Cowgirl, leave her many-horse town and go in search of Joe to fulfil a prophecy laid down in time – you see, The Cowgirl seeks the last cow on earth. This show is absolutely bonkers! It’s a madcap hour of hilarity, highjinx, and hootenany and you will not stop laughing the whole time. Playing The Cowgirl and multiple characters along the way, Clara Cupcakes is a masterful solo performer. She interacts with the audience in a way that is friendly and non-intimidating as you follow along her journey to find the last cow.

Parodying wild, wild West tropes but not the people, Clara doesn’t take herself too seriously. She’s a natural comedian, clowning about while walking with a jaunty lilt, telling campfire stories punctuated by vulture cries, playing a showgirl who exposes a lot more than just her story – Clara embodies each character and gives them depth and nuance, rather than using them as just a plot device. There is a bit of audience interaction but I won’t give any of that away – suffice it to say, Clara makes you feel very welcome and is so professional that the bits are funny whether you give a lot or not. Yee Howdy is silly. It’s beyond funny, and I love that the plot isn’t predictable – and the ending has to be seen to be believed. The Cowgirl will have you rooting (tootin’) for her all the way.

You can catch the ballad of The Cowgirl at The Blue Room Theatre until 11th February 2023. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2023.

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.