by Tom Holloway
The reviews are in and everyone is talking about SUNSHINE.
This challenging, unique work is booking out our little theatre, and evoking strong reactions from audiences, many of whom are returning a second time to engage with different aspects of this ‘choral’ piece.
Here’s what critics are saying:
“Remarkable in its structure…exhilarating…
this outstanding piece of abstract theatre makes you work for your gratification…well worth it. ”
– ★★★★ 1/2 Arts Hub
“It demands – and commands – full attention.” – The Australian
“Direction from Kirsten von Bibra was superb and sublime…
The four-hander cast are all tremendous… ” – Theatre Press
“…a novel theatrical experience…performances are strong,
particularly from [Caroline] Lee who finds a tender and poignant beauty…”
– Herald Sun
“Superb talents…bold performances…lend intensity and humour”
– The Australia Times
Playing until November 5th. Book your tickets now!
Meet the Playwright
When did you first realise you wanted to become a playwright and why?
I would argue that becoming a playwright is never done with much level of thought. That’s how we end up in this mess, after all. I mean who would seriously set out to do something so stupid?
I’ve always been more a team sport person than an individual sport person. That’s what I love about theatre… It takes a team to make it work. I guess I just accidentally found myself taking the least teamy job in the change rooms.
One of the things I’ve loved most about being a playwright is the huge range of people you get to meet. Whether it has been survivors of massacres, former child migrants who have grown up with no family (but still find a way to live life with a smile on their face), actors I’ve grown up idolising who turn out to be funny, charming souls… The people I have got to meet have made my life full, and that makes playwriting a brilliant choice.
You have a unique style of writing in Sunshine. How did you develop this?
I wanted to try to create an experience for an audience that they can’t get from a movie screen or a tv or computer screen. I wanted to try to give them something they may only be able to experience in the theatre, because that’s what going to the theatre should be like… Like nothing else. Whether I’ve succeeded or failed is yet to be seen!
How have you found developing this work with the Red Stitch Ensemble?
That bunch of hacks? I’ll never work with them. Never! If you think a company is good, you work with them again and again, right? Well, to show you what I think of Red Stitch; I declare that I have never, will never, and hope to never ever work with them. I couldn’t think of anything worse.
(this is my fourth show with them in eight years)
What else are you working on?
Why are you asking? Do you want to steal my ideas? I bet you do. It would be just like you. Well, if that’s the case… I’m doing a new stage version of Hey Dad..! which I’m creating with Chunky Move dance company and the German heavy metal band Rammstein, I’m ghostwriting a nude one-man show for Derryn Hinch called ‘Got A Hinch?’ and I’m working on a a piece of documentary theatre which is a 365 hour opera called ‘A Year In The Life Of The City Of Devonport, 1989’.
Steal those ideas. I dare you.