Jo Sutherland’s V+15 strikes a rare duff note for me at the VAULT Festival
“When we speak up, when we write, the world moves in the direction of what is possible”
In a society where totalitarian rule has become the norm, where would you find yourself? Writer Alina has thrown her lot in with the rebel alliance, working to overthrow the regime and she’s hoping that Vincent, a fellow creative and broadcaster who has been radio silent for the last couple of years, will become the latest recruit to their cause.
Jo Sutherland’s V+15 probes at differing notions of morality, shaped by years of oppression and censorship and asking whether freedom of speech carries the same weight under such circumstances. And as events threaten to overtake them, Alina and Vincent have to question whether debate can effectively turn into direct action, if need be. Continue reading “Review: V+15, VAULT Festival”
Sex and love in the modern age gets a little confusing, for everyone, in Love Me Now at the Tristan Bates Theatre
“It can be anything you want it to be”
One of my favourite characters in early-season Dawson’s Creek was Abby. Allowed to walk on the wild side far more than any of the leads, she was a bright pop of colour in Capeside but because she liked a drink, she had to die. First-time-writer Michelle Barnette may not have intended this allusion but in this tale of casual sex gone awry, it was what sprung to mind.
But as Love Me Now attempts to explore “the toxicity of casual dating”, maybe it is an appropriate reference. Her characters A (Alistair Toovey’s ripped cocksure man-child) and B (Helena Wilson’s Insta-loving professional woman) are engaged in the kind of no-strings affair of Tinder’s dreams, only things have gotten complicated. She wants more commitment, he just wants more head. Continue reading “Review: Love Me Now, Tristan Bates”