KATE HERBERT Arts Weekly 3MBS Sat17Aug2024

In this radio spot, I talk with Arts Weekly producer, Nick Tolhurst, about SIX the musical return season in Melbourne, and Apologia by Nicola Gunn at Malthouse. 

Only 7-8 mins.

Apologia REVIEW 9 Aug 2024 ***

THEATRE

Written by Nicola Gunn, by Malthouse Theatre

At Beckett Theatre, Malthouse until 18 August 2024

Reviewer: Kate Herbert

Stars: *** (3)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 17 August 2024. KH

Apologia_Nicola Gunn_c Gregory Lorenzutti

Nicola Gunn’s performance work is always surprising, eccentric and often extremely successful. Apologia succeeds in its first parts, but its final section is less satisfying.

 

Written, performed and directed by Gunn, the marvellously quirky conceit is Gunn’s absurd fantasy of being a French actress, a persona that she perceives to be elegant, romantic, stylish and mysterious, amongst plenty of other stereotypes of the Parisian woman. Of course, she speaks no French, but seems to think this is a surmountable obstacle. Funny concept!

 

The second character in this performance is a French-English translator Severine Magois, who is present only by voice, although a large speaker on a stand that projects her voice feels very human after we’ve listened to her for a while. Severine is a heavy smoker (we can hear her Vaping), acerbic, asocial, and completely uninterested in being a romantic representation of a French woman and, in fact, uncertain what being a French woman means.

 

Gunn and Magois argue and banter as they try to determine the characteristics of a French woman, and how a film script about this French translator and her mother would look and sound. As they argue, Gunn changes on stage into a parade of chic, black outfits, including sassy underwear.

 

In part two, Gunn becomes the French actress with a perfectly dubbed French accent, as she stands upstage behind a scrim, talking on the phone to her mother.

 

What follows is totally dislocated from this first section: two Japanese tourists – speaking Japanese with surtitles – muse on the replica spire being built on the cathedral of Notre Dame. It raises the issue of language, identity, nationality, and expectations of Paris. Evidently, according to program notes, it explores what is known as “Paris Syndrome” when tourists – particularly Japanese – are disappointed with Paris. This could have been more fully explored to link this episode with the first section.

 

The final section with Gunn and her co-actors – all sporting body-hugging, lacy leotards and waving coloured discs around – resembles a bizarre, 1970s drama class. I have no idea what this was doing in the piece, apart from the fact that it represents distortion and dislocation and perception of colour.

With a different ending, Apologia might be a more expressive and successful piece.

 

By: Kate Herbert.

 

Cast

Nicola Gunn, Yumi Umiumare, Taka Kakiguchi, Voice: Severine Magois

 

Creative Team

Nicola Gunn -Writer/ Director

Karie Atland -Set  Design

Kate Davis -Costume Designer

Emma Valente - Lighting Designer

Darios Kedros - Composer/Sound Designer

Martyn Coutts -AV Designer

Aoi Matsushima – Japanese translator

 

SIX REVIEW Comedy Theatre 7 August 2024 *****

 

THEATRE

Book, Lyrics & Music by Toby Marlow & Lucy Moss

At Comedy Theatre until 20 October 2024 (so far)

Reviewer: Kate Herbert

Stars: ***** (5)

 This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 16 Aug 2024. NB: It includes much of the content of my 2022 review of the previous production. KH

 L-R LOREN HUNTER,ZELIA ROSE KITOKO,DEIRDRE KHOO,KIMBERLEY HODGSON,CHELSEA DAWSON,GIORGIA KENNEDY - PHOTO JAMES D MORGAN-GETTY IMAGES

SIX sets the stage ablaze again with its opening, rocking song, Ex-Wives, that introduces and gives voice to the six wives of Henry VIII then proceeds to reframe and reimagine their “her-story” through a 21^st century lens that references modern gender politics.

 

This outstanding, dynamic production returns to Melbourne with several cast changes since its wild success in 2022. With a musical repertoire inspired by pop divas including Beyonce, Adele, Shakira, Sia and girl groups, was conceived by talented UK duo, Toby Marlow and Lucy Moss (book, lyrics, music), and is fiercely directed by Moss with Jamie Armitage. A tight, all-female, four-piece band, Ladies in Waiting, and evocative set (Emma Bailey) and lighting (Tim Deiling) complete the atmosphere.

 

Carrie-Anne Ingrouille’s crisp, vigorous choreography is fast-paced and sassy with plenty of hip bumps, pelvic rolls and sharp foot work, while Gabriellla Slade’s costumes provide another character with their gleaming bodices and skirts echoing Tudor attire, and their stiff fabrics and sharp lines referencing 16^th century armour that provides protection for the women.

 

Divorced, beheaded, died, divorced, beheaded, survived is a way to remember the wives, or one can listen to songs that illuminate their lives and marriages while mocking damning assumptions made by past historians about their characters. SIX depicts the wives as heroines, but they were victims of trauma, abuse and imprisonment in Henry’s court.

 

The conceit for this episodic musical is the wives competing in a twisted popularity contest. The first wife, strong-willed, Spanish Catholic, Catherine of Aragon, is played with passion by Kimberley Hodgson and her rousing song, No Way, is a declaration of war on the king who divorces her and breaks England from Catherine’s beloved Roman Catholic church.

 

Infamous Anne Boleyn, trigger for both the divorce and the rift in the church, is played by Deirdre Khoo as an impudent, waspish young woman whose perky pop song, Don’t Lose Ur Head, mocks her beheading and is littered with modern text-speak.

 

The remaining four wives were poorly documented, but that never stopped historians leaping to judgement. Jane Seymour, played again by Loren Hunter, portrays herself as the only queen Henry genuinely loved and Hunter’s warm, honeyed tones elevate her heartfelt love ballad, Heart of Stone.

 

Vivacious and statuesque Zelia Rose Kitoko is German Anna of Cleves, and her feisty, razor-edged song, Get Down, reveals a woman who, despite being damned as ugly, survived after divorce to live a comfortable life. Kitoko may not have the same vocal skill and control as others, but she really owns the role with her sass.

 

Chelsea Dawson reprises the role of Katherine Howard, whose song, All You Wanna Do, is resonant of Britney Spears’ music and life, expressing a teenage girl’s hopes for love being dashed each time she is abused by another predatory man.

 

Catherine Parr, played in this production played by Giorgia Kennedy, interrupts the other queens’ rush of blood to challenge them about their contest to determine who suffered the greatest trauma or abuse. Kennedy’s poignant, impassioned I Don’t Need Your Love features a vocal run that reaches a knock-out top note. She really has vocal chops!

 

This pop-fuelled musical is ferocious, topical and resonates with contemporary audiences who leapt to a spontaneous standing ovation on opening night after the finale, MegaSIX, a thrilling remix for this girl group of queens. This is show that you cannot, must not miss!

 

Kate Herbert

 

 

CAST:

Kimberley Hodgson - Catherine of Aragon

Deirdre Khoo - Anne Boleyn

Loren Hunter - Jane Seymour

Zelia Rose Kitoko - Anna of Cleves

Chelsea Dawson - Katherine Howard

Giorgia Kennedy - Catherine Parr

 

Creative Team

Toby Marlow -Writer

Lucy Moss -Writer & Co-Director

Jamie Armitage -Co-Director

Carrie-Anne -Ingrouille Choreographer

Claire Healy -Musical Director

Set Design -Emma Bailey

Costume Design - Gabriellla Slade

Lighting Design -Tim Deiling

Paul Gatehouse- Sound Designer

 

 

KATE HERBERT Arts Weekly3MBS Sat3Aug2024 REVIEW King Lear, English

In this radio spot, I talk with Arts Weekly producer, Nick Tolhurst, about King Lear by Bell Shakespeare, and English by Sanaz Toossi, at MTC.

English REVIEW MTC 22 Aug 2024 ***1/2

 THEATRE

Written by Sanaz Toossi, by Melbourne Theatre Company

At Sumner,  Southbank Theatre until 29 August 2024

Reviewer: Kate Herbert

Stars: ***1/2

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 3 August 2024. KH

Osamah Sami, Delaram Ahmadi, Maia Abbas and Marjan Mesbahi_ENGLISH_Pia Johnson

In a classroom in Iran, Marjan (Salme Geransar), an Iranian woman, teaches English as a Foreign Language to her four adult students who are Farsi (Persian) speakers. She insists they speak English only and any breach of that rule attracts a penalty. Total immersion! The only way to learn a new language!

 

English, a play by Iranian-American writer, Sanaz Toossi, won its writer the 2023 Pulitzer Prize. It is not a grand play that deals with explosive, highly dramatic or political issues that one might expect from a play set in Iran and written by a woman who lives in the US. Rather, it is an intimate, delicate and sensitive exploration of language, identity, relationship to country and communication.

 

Each character has his or her own reasons for studying, and a particular relationship to the English language and to their own culture.

 

Marjan lived eight years in Manchester but returned to Iran where she feels lost in the cracks between the two cultures and languages.

 

Elham (Maia Abbas) is stroppy and ambitious but hates English and the way it makes her feel and sound stupid when she aims to study gastro-enterology at RMIT. Her direct opposite is 18-year-old Goli (Delaram Ahmadi), who is cheerful, optimistic, eager and quick to learn as she has her whole life ahead of her. Failure is not even in her vocabulary.

 

Roya (Marjan Mesbahi) needs to learn English so she can move to Canada to live with her son and grandchild, but she cannot grasp the language, clings to her roots and believes one’s name is sacred and should not be changed in another language. “Our mothers name us, not others.”

 

Omid (Osamah Sami) is a totally different creature from the others. His English is advanced, and he seems to have no reason to attend the classes. His secret will out!

 

Toossi creates a gentle, warm atmosphere that allows us entry into the minds, behaviour and needs of these five people. The play, directed by Tasnim Hossein, is a series of very short scenes that represent the passing of weeks in class. By the second half, this episodic structure and the regular blackouts becomes a little tiresome. It could merge some scenes.

 

I recall my own experience studying Italian by total immersion in the language. I was accustomed to being the expert in the room being the teacher, not the novice student. I was unable to tell a joke or make people laugh, I saw people’s eyes glaze over as I struggled to form sentences. I felt like an idiot. It was necessary to accept this new, temporary identity until I mastered the language sufficiently to make a joke successfully and string a coherent sentence into a conversation that enthralled. It was tough.

 

Language does provide one an identity. Farsi is a poetic and expressive language, and we hear its lyrical sound at the end of this delicate portrayal of Iranian people seeking to preserve their identity and culture while exploring new versions of themselves through another language.

 

By Kate Herbert

 

Full Cast_MTC_ENGLISH_image Pia Johnston

CAST

Elham Maia Abbas
Goli Delaram Ahmadi
Marjan Salme Geransar
Roya Marjan Mesbahi
Omid Osamah Sami

 

CREATIVE TEAM

Director Tasnim Hossain
Set & Costume Designer Kat Chan
Lighting Designer Paul Lim
Composer Hamed Sadeghi
Sound Designer Marco Cher-Gibard
Persian Language Accent / Dialect Coach Ana Bayat
Voice & Text Coach Mark Wong
Assistant Director Afsaneh Torabi
Assistant Lighting Designer Giovanna Yate Gonzalez

Voice in recorded English lesson & Voice of Nader Ali Samaei
Consultant – Persian Culture Dr. Afshin Forghani
Voice in recorded English lesson Effie Nkrumah

 

v

King Lear (Bell Shakespeare) REVIEW 26 July 2024 ***

 THEATRE

Written by William Shakespeare, by Bell Shakespeare  

At Fairfax Studio, Arts Centre Melbourne until 11 August 2024

Reviewer: Kate Herbert

Stars:*** (3)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 3 Aug 2024. KH.

Robert Menzies, Bell Shakespeare's King Lear _Photo by Brett Boardman

 

King Lear is one of Shakespeare’s great tragedies and any new production attracts plenty of comparisons to previous successful or patchy versions.

 

Peter Evans’ new Lear for Bell Shakespeare comes some years after two productions featuring John Bell himself as Lear, both of which received mixed responses. It also follows Ian McKellan’s Lear that visited Melbourne, Barry Kosky’s controversial interpretation and Evelyn Krape playing a female Lear for Melbourne Shakespeare Company. Most memorable Lear for me was by Rustaveli Theatre of Georgia in which Lear was a tyrant. More of that later.

 

Evans captures the tragedy of two elderly fathers, King Lear (Robert Menzies) and his loyal Duke of Gloucester (James Lugdon), both of whom are victims of vile abuses by their children.

 

Menzies’ Lear is a highlight in the production. He is frail, beleaguered and tortured but he is also narcissistic and vengeful; Lear’s venom and vitriol directed at his two ungrateful and disloyal daughters is vividly played by Menzies and he delivers the poetic text with nuance and skill.

 

James Lugton, as Lear’s trusty friend, Gloucester, is noble and dignified with a command of Shakespeare’s language and he elicits gasps from the audience at his horrific torture.

 

Unlike many other Shakespeare plays, there are fewer attempts to shift it into some contemporary setting or period. Evans sets the play in no specific time. It takes place on a sparse design by Anna Tregloan that features gleaming, reflective, coppery panels and flooring, and the costumes are simple and mostly black with a few splashes of colour.

 

King Lear is a tragedy about a man who believes he has power – until he loses it. He believes he has love, until he realises it was never there. He believes he has loyalty, until it deserts him.

 

At the very start, Lear makes his first mistake, by planning to divide his kingdom between his three daughters. When his youngest and dearest, Cordelia (Melissa Kahraman), refuses to mouth platitudes of love to equal the obsequious flattery of her two sisters, Goneril and Regan, Lear disowns, disinherits and banishes her with his blunt but loyal Duke of Kent.

 

It all goes wrong for Lear from that fateful moment. His older daughters want his power and wealth but deny Lear any love, power, position or even his retainers. He ends up half-crazed and roaming the wilds in the storm with his wise Fool and a poor naked man.

 

Although the cast generally expresses a clear understanding of the text, there is some unevenness in performances and some less successful casting.

 

Janine Watson is audacious as Kent and Alex King captures some of Edgar’s qualities, but lacks the wildness of Edgar as Poor Tom in the storm.

 

Cordelia is often played by the same actor as Lear’s Fool, in this case Kahraman, but apart from the witty prattling language of the Fool, these two characters sound and appear too alike. Goneril (Lizzie Schebesta) and Regan (Tamara Lee Bailey) are stroppy and mean-spirited without seeming dangerous. This pair of treacherous daughters could be more overtly brutal and self-serving to highlight Lear’s total abandonment. 

 

My greatest experience of King Lear (apart from seeing McKellen in the role and production that didn’t do his performance great service) was Rustaveli Theatre of Georgia, directed by Robert Sturua.

 

In Sturua’s production, Lear is a despot. The design appears to be a torture chamber, decked with weapons and devices of torture. For the first eight minutes there is silence as his family and courtiers await the despotic Lear’s is arrival. The desperately terrified Albany faints. It is the most powerful eight minutes I’ve ever seen at the beginning of the play!

 

When Lear enters, he is relaxed and cheerful, holding a canary in a cage while Cordelia, his favourite youngest child, capers around him. It is both remarkable and alarming and highlights the fact that Lear is completely comfortable in his tyrannical power while others quake at the thought of his arrival. This makes his downfall and his madness and his loss of his wits all more tragic and compelling.

 

Although this Bell production lacks that same power, it captures the essence of Lear by relying heavily on the two oldest and strongest actors, Menzies and Lugdon. These stalwarts of Australian theatre are the core of the production.

 

By: Kate Herbert.

 

KATE HERBERT Arts Weekly3MBS Sat20July2024

My review spot on Sat 20 July 2024 on Arts Weekly on 3MBS.

 

In this radio review spot, I talk with Arts Weekly producer, Nick Tolhurst, about Macbeth (an undoing) by Zinnie Harris at Malthouse and A Streetcar Named Desire by Tennessee Williams at MTC.

A Streetcar Names Desire REVIEW MTC 13 July 2024 ***1/2

Written by Tennessee Williams

By Melbourne Theatre Company

At Playhouse Theatre, Arts Centre Melbourne until 17 August 2024

Reviewer: Kate Herbert

Stars: ***&1/2

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 20 July 2024. KH

Nikki Shiels A Streetcar Named Desire - Photo Pia Johnson

A Streetcar Named Desire is a classic American play by Tennessee Williams set in 1940s New Orleans. Any production of Streetcar faces direct comparison with the incomparable performances by Vivien Lee and Marlon Brando in Elia Kazan’s 1951 movie.

 

Anne-Louise Sarks’ production for MTC alters the tone and temperature of the play from its most common interpretations. Blanche Dubois is the core of the play as she descends into mental chaos. In this production, Nikki Shiels’ compelling performance of this challenging role is nuanced and complex and Shiels uses the musicality of her vocal range to shift Blanche’s emotional temperature.

 

Blanche is a former privileged Southern belle who suffered the loss of her formerly wealthy family’s home after the profligate spending of her male relatives.

 

She is deeply disturbed, fearful and lives behind a veil of lies, embellishments and self-deception, representing herself as a proper, cultured, educated, sober and chaste lady. In reality, she exists in a cloud of booze, genteel poverty and secret ‘intimacies’ with strangers.

 

When Blanche escapes her hometown and her damaged reputation to live with her married sister Stella (Michelle Lim Davidson) in a shabby two-room apartment in New Orleans, her world comes crashing down and she descends into delusion and a total mental breakdown by the end of the play. Her exit is one of the most famous lines from the play: “I have always relied on the kindness of strangers.”

 

Blanche may be a Southern belle with delicate sensibilities, but she has fallen far from her own standards in order to survive in a world outside her control. Shiels’ Blanche is more overtly and consciously manipulative and controlling than the usual interpretation of the character.

 

The ending of the play loses its tragic focus when Blanche walks out of the flat under her own steam, determined and in control rather than delusional and shattered. She is depicted as fearful of Stanley after he sexually assaults her, which is reasonable and real. However, to be true to Williams’ play, Blanche could be far more broken, having lost her grip on reality.

 

The casting of certain roles works against the play’s intentions at times: Blanche’s benign suitor, Mitch (Steve Mouzakis), describes himself as 6ft 1in, 270 pounds and muscled, but the actor is the opposite; Mark Leonard Winter captures Stanley’s roughness and toughness, but he is less imposing, lusty and overpowering and his boyish buoyancy works against the sense of danger in the man; Davidson’s Stella could be more sensual, passionate and doting to make sense of her obsession with Stanley and her blindness to his faults.

 

There could be a stronger sense of the passion between Stella and Stanley, the sweltering heat and claustrophobic quality in the apartment and more clarity and tragedy in Blanches’ escalating delusions.

 

The upstairs neighbours appear frequently in windows, giving some sense of the claustrophobic environment of Stella and Stanley’s flat, but they distract from the main narrative. The appearance of a guitarist/singer upstairs is a bizarre inclusion, and the wandering woman in mourning is another oddity.

 

Despite its drawbacks, this is an interesting production that relies heavily on Shiels’ compelling portrayal of Blanche Dubois.

By: Kate Herbert.

 

CAST

Gee Gee / Nurse Gabriella Barbagallo
Young Collector / Doctor Kaya Byrne
Stella Michelle Lim Davidson
Pablo Stephen Lopez
Mitch Steve Mouzakis
Flower Seller Veronica Pena Negrette
Blanche Nikki Shiels
Eunice Katherine Tonkin
Stanley Mark Leonard Winter
Steve Gareth Yuen

 

CREATIVE TEAM

Director Anne-Louise Sarks
Set & Costume Designer Mel Page
Lighting Designer Niklas Pajanti
Music Stefan Gregory
Intimacy Coordinator Amy Cater
Voice & Dialect Coach Geraldine Cook-Dafner
Fight Director Nigel Poulton
Assistant Director Joe Paradise Lui
Assistant Set & Costume Designer Bianca Pardo

Stage Manager Pippa Wright

 

 

 

Macbeth (an undoing) REVIEW 10 July 2024 ***

 THEATRE

Written by Zinnie Harris, by Malthouse Theatre

At Merlyn Theatre Malthouse until 29 July 2024

Reviewer: Kate Herbert

Stars: *** (3)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 20 July 2024. KH

Macbeth (An Undoing)_Natasha Herbert, Johnny Carr, Bojana Novakovic_c Jeff Busby

 

It is common – perhaps expected? – for contemporary directors to shift the context and location of Shakespeare’s plays and/or interpret characters to make the plays more palatable to a modern audience.

 

Others adapt or edit the scripts ferociously. Tom Stoppard very successfully chose two minor characters in Hamlet, Rosencrantz and Guildenstern, and depicted their actions when they are off-stage and out of the action, as well as incorporating the scenes from Hamlet in which they appear briefly.

 

Playwright of Macbeth (an undoing), Zinnie Harris, has taken a much longer and bolder leap than Stoppard by transforming Macbeth into a play focussing its attention on Lady Macbeth rather than her husband, giving both the play and her character a feminist, contemporary tilt. This risky and audacious attempt to ‘improve’ on Shakespeare, only partly succeeds as a script and as a production by Matthew Lutton.

 

Harris’s version of the story has not revealed new depth and breadth in the characters of Macbeth and Lady Macbeth, and her reworked narrative is inconsistent and coherent. It does not effectively balance Shakespeare’s language with the contemporary dialogue and the colloquial idiom Harris uses often feels inappropriate, intrusive or distracting.

 

Natasha Herbert’s laconic and mysterious narrator who opens the play, is the most compelling and successful element in this production; we eventually discover this shabby creature is one of the three witches. This character is a cunning, dramatic innovation. Herbert commands our attention, enlivening the character, claiming the stage and expanding the story. Her performance makes this character seem best suited to the mix of classical and modern language.

 

David Woods is another highlight – however briefly – as a determined and gruff Macduff, and a silently surly murderer, while Jim Daly is suitably bluff and dotty as King Duncan.

 

Most of the performances are underplayed, presumably at the direction of Lutton, which gives an atmosphere of ordinariness overlaying – even masking – the bloody horror. However, this sometimes undramatic and pedestrian tone drains the language and narrative of power and passion.

 

In the early scenes, Bojana Novakovic portrays Lady Macbeth as strong, brittle and domineering as she wrangles her husband, the castle and its various noble and servile inmates. Unfortunately, the tragedy of her psychological fracture is absent in the later scenes.

 

Harris extrapolates new scenes that are not in Shakespeare’s play, an idea that has plenty of potential to explore and illuminate Lady Macbeth. However, this exploration of the woman as she is when “off-stage”, falls short of its potential, leaving us with a completely different, and perhaps less interesting character who remains in control until suddenly she starts ranting about more contemporary issues of women, feminism and gender roles.

 

Johnny Carr plays Macbeth as an ordinary sort of bloke who is out of his depth, which could be an interesting choice, but unfortunately, much of Macbeth’s inner turmoil is lost in this script and the character has a very limited journey.

 

The production style and the script lack dramatic tension or clear intention and diminish the tragedy and horror. Even the bloodied bodies of Banquo, Lady Macduff and Duncan are reminiscent of B-grade schlock movies. The constantly revolving, grim, grey castle is interesting for a few scenes but becomes repetitive and irritating.

 

The ending of the play is a strange choice that sends the narrative shooting off in an unsatisfying direction (partial spoiler) that dodges Lady M’s suicide and gives Macduff a surprising, vengeful role in her death.

 

There was so much dramatic potential and excitement in the idea of seeing Lady Macbeth offstage, but Zinnie Harris’s play and the Malthouse production have not achieved that potential.

 

NB: The trigger warnings for Macbeth (an undoing) have gone mad; they occupy a full page on a video screen in the foyer. Unnecessary?

 

by Kate Herbert

 

CAST

Lady Macbeth /Bojana Novakovic

Macbeth /Johnny Carr

Ross /Tony Briggs

Mae & Malcolm /Tyallah Bullock

Lady Macduff & Missy /Jessica Clarke

Duncan & Murderer /Jim Daly

Banquo /Rashidi Edward

Carlin /Natasha Herbert

Bloody Soldier & Lennox /Khisraw Jones-Shukoor

Macduff, Doctor & Murderer /David Woods

 

CREATIVE TEAM
Writer, In a new version after Shakespeare / Zinnie Harris

Director /Matthew Lutton

Set & Costume Designer /Dann Barber

Lighting Designer / Amelia Lever-Davidson

COMPOSER & SOUND DESIGNER / Jethro Woodward

Associate Lighting Designer /Tom Willis

Associate Sound Designer /Justin Gardam

Intimacy Coordinator /Amy Cater

Fight Choreographer / Lyndal Grant