Wednesday, 24 June 2026

Corporare - Evan Task in Space COMMENT 17 June 2026

      

THEATRE – COMMENT ONLY

Devised and Performed by Matthew Crosby & Tessa Luminati

At Theatre Works Explosives Factory, Inkerman St , St Kilda, 17- 27 June 2026

Comment: Kate Herbert

Stars: Not reviewed

This review is published only on this blog. I presented a radio review on Arts Weekly on 3MBS on Sat 20 June 2026. KH

Matt Crosby – Corporare – image Joe Calleri
 

So, what happens when the richest man on Earth decides he’ll be the first to land on — and colonise —Mars?

 

In Matt Crosby’s new show, Corporare - Evan Task in Outer Space. Crosby takes on that big question, mixing wild bits of science fiction, nods to classic sci-fi films, comedy and scathing satire about such things as out-of-control AI (self-driving cars included) and the potential disasters associated with unchecked technology. 

 

Crosby and his long-time creative partner and director, Tessa Luminati, created this work with inventiveness and a minimal budget.

 

It is a physical show, with minimal set and props and the pair craft an abstract representation of not only the character’s spacecraft, but space itself and even the surface of Mars. That’s no small feat for a low- no-budget show.

 

This production is fresh, funny and extremely relevant, especially when the main character, Evan Task,  is inspired by – or is a not-so-subtle stand-in for – a certain trillionaire.

 

So, will Task pull it off? You’ll have to see this clever production and find out before it closes on 27 June..

 

KATE HERBERT

Sea Wolves Howl REVIEW 13 June 2026 ***

THEATRE

Written by Carole Patullo, Jane Bayly, Yoni Prior, based on stories of the Sea Wolves

At various venues across Melbourne & Victoria from June 2026

Reviewer: Kate Herbert

Stars: *** (3)

This review is  published only on this blog. I presented a radio review on Arts Weekly, 3MBS, Sat 20 June 2026. KH

Sea Wolves Howl - cast - image supplied
 
Sea Wolves Howl is  a warm and cosy show, despite being about freezing in the chilly waters of bay!

A cast of five (Carole Patullo, Jane Bayly, Carmelina Di Guglielmo, Kelly Nash, Em Jevons), four older women and one younger performer, performs this community show that is based on the real stories of a group of women who started swimming daily at Mount Martha on the Peninsula, come rain, shine, winter or summer.

These intrepid women call themselves the Sea Wolves: they hold hands, howl like wolves and step valiantly into the cold waters of the bay.

The script, based on the real swimmers’ stories, is written by two of the performers, Patullo and Bayly, with director, Yoni Prior.

Community Theatre that is designed for a target community, written from community stories, about community issues, and performed for that specific community, cannot be reviewed in the same way as other theatre. Although this production is performed by professionals, the purpose must be considered: to reflect the stories of the women who have share shared their lives and related how swimming with the Sea Wolves changed to them.

The original, target audience on the Mornington Peninsula. and particularly the Sea Wolves themselves, would have been totally engaged with the familiar stories, locations and content.

The production has no linear narrative or dramatic structure with a beginning middle and end. Rather, it is a series of short monologues by individual characters woven together with group scenes and original songs that are sung by the women and accompanied by a musician.

They chat and sing about the individual experiences that led them to the swimming, their personal lives, how they have been changed by joining the group and by swimming in the cold water daily.

They talk about the sense of belonging, of community, of the health benefits of cold-water swimming, of the support they share, of making new or difficult choices in their lives, and about dealing with aging, illness or loss.

The simple staging has been adapted to work on large stages than its original home on the Peninsula, and they use few props ­– pool noodles make an appearance –and corrugated plastic sheeting evokes the icy waters of the Bay.

This is a feel-good show with a welcoming, community feel and the audience at The Round was delighted to howl like wolves with the performers.  Look for it in your suburb or region.

by KATE HERBERT

Cast: Carole Patullo, Jane Bayly, Carmelina Di Guglielmo, Kelly Nash, Em Jevons

Musician: Audrey Hart

Creative Team

Writers: Carole Patullo, Jane Bayly, Yoni Prior

Director Yoni Prior

 

 

Saturday, 20 June 2026

KATE HERBERT-RADIO REVIEWS- Arts Weekly 3MBS SAT16JUNE2026

   

 


In this radio review spot on Arts Weekly on Saturday 20 June 2026, I talk to Phillipa Edwards about Sea Wolves Howl and Community Theatre. 

I then mention Corporare - Evan Task in Space by Matt Crosby & Tessa Luminati.

 

Click the link below to listen. 

 

KATE HERBERT- Arts Weekly-16June2026  

 

Saturday, 6 June 2026

KATE HERBERT–RADIO REVIEWS–Arts Weekly 3MBS-Sat 6JUNE-2026

 

 
This was a fun review spot! In this radio review spot on Arts Weekly on Saturday 6 June 2026, I talk with Nick Tolhurst about two shows I’ve seen:  

Stuck at La Mama (end 26 May), and

A Large Attendance in the Antechamber, a remarkable solo show by Brian Lipson

We then discuss Retrograde at MTC, which Nick saw but I did not. We mention some upcoming shows: Sea Wolves Howl, Between the Lines, Pride & Prejudice the Musical, and Losing Face at MTC. 

Click this link:  ArtsWeekly-Sat6JUNE2026

 

11 mins  



Friday, 5 June 2026

A Large Attendance in the Antechamber – REVIEW May 29 2026 ****1/2

Written, performed & designed by Brian Lipson (& Francis Galton)
At Trades Hall, Council Chambers, Carlton, until 7 June 2026
RISING Festival 2026
Reviewer: Kate Herbert
Stars: ****/1/2 (4.5)

This review is published only on this blog. I will also talk about it on Arts Weekly, 3MBS, on Saturday 6 June at about 10.45am.  

Brian Lipson, A Large Attendance in the Antechamber, supplied

 A Large Attendance in the Antechamber, Brian Lipson's solo show about British scientist, Francis Galton, is riveting in this return season 26 years after its premiere in Melbourne in 2000. Lipson’s writing is complex, intelligent and vivid, the style absurd, his performance detailed, intriguing and outrageously hilarious. The production is enhanced by Susie Dee's 
deft direction. 

Lipson’s imaginative leaps illuminate Galton’s character, and use his eclectic scientific interests and his recognised genius as the starting point for an inventive and thoroughly entertaining piece of theatre.

The title of the performance, A Large Attendance in the Antechamber, refers to Galton’s peculiar image of the conscious mind as a chamber with an adjoining antechamber in which ideas wait to enter the consciousness.

Lipson, dressed initially in full period costume, is seated in a tiny replica of a Victorian study, jammed with a peculiar assortment of scientific devices, projectors, lamps, candles, umbrellas and pictures. For the first minutes, he sits, pale, impassive and immobile, with only flickering movements of his eyes as he observes the audience. Encased in his wooden framed “box”, he is like a revivified corpse.  Is this the antechamber?

This is not merely an impersonation or characterisation of Galton, nor is it a dramatisation of his life and work. Galton is constantly conscious of, and irritated by being played by an actor, Lipson. 

He repeatedly refers to the actor, reminding us that Lipson has the temerity  to pretend to be Galton. He insists that he, Galton, is dead and that this is a theatrical environment which must abide by the conventions of theatre. He even imprints 'Lipson' on his forehead to reinforce the presence of the actor.

The pace shifts swiftly, sometimes meandering, then suddenly galloping at a pace. There is no logical sequence to the dialogue as Lipson/Galton launches from bizarre and often hilarious experiments, to lantern slides demonstrating his alarming theory of Eugenics.

Galton's obsession with the nature of the Jewish physiognomy is at the core of Lipson's interest in him. Galton was the first to study Eugenics. He proposed the perfecting of the human race by selective reproduction. He was the precursor to all that was evil in the Nazis racial purification.

Lipson leaps about inside his tiny, Victorian cubicle and also launches himself into the space to explore Galton’s theories with the startled audience. He manipulates our behaviour as much as his own or Galton’s, and both ridicules and is alarmed by Galton's bizarre behaviour and experimentation. 

A Large Attendance in the Antechamber is the perfect combination of theory and practice, theatre and reality, present and past, truth and fiction. It is a splendid production with a disturbing and compelling performance by an exceptional actor with impeccable comic timing.

By Kate Herbert