Jane Hutcheon has had an incredible career as a journalist. She is also fondly remembered as the incisive and trusted host of ABC’s “One Plus One” as she elicits incredible stories from her interview subjects. Of all the stories Jane Hutcheon has encountered as an ABC journalist, China correspondent, war zone reporter and author, one has intrigued her more than any other: that of her mother Beatrice’s turbulent childhood in pre-Communist Shanghai. Visiting Shanghai in 2018, Jane began to search for the truth of her mother’s difficult beginnings. “Lost in Shanghai” is the result, a story of an ordinary Eurasian family in extraordinary times, set against a backdrop of fading colonial opulence, civil war and revolution. In the program she tells us “I’ve always wrestled with identity and belonging. Much of that was bound up with the events of my mum’s traumatic early life. I was too busy travelling the world as a journalist, telling other people’s stories, to unravel the story tucked away in my photo albums and family notes. “Lost in Shanghai” is the story of how I found my Mum - and myself - in the process” Master storyteller, director William Yang, gently focusses the production having also curated the continual imagery of Jane’s family throughout. Music is composed and performed by Terumi Narushima. It provides an atmospheric counterpoint to the narration. Jane’s story is told in her own words. The staging is elegant and visually striking with a large projection screen linking Jane on one side of the stage with the musician - and an exquisite array of instruments - on the other. Jane’s natural home isn’t the stage and although the delivery of the text and the quality of the story telling is somewhat stilted one can’t help but be moved by the unfailing resilience of her ancestors – especially the women. Jane’s mother is approaching 100 years of age. She, like Jane, has had an incredible life. Her mother may not remember her school days, the glamorous wedding, the international travel – a life richly lived. I challenge anyone not to be moved by this beautiful and moving tribute. Seymour Centre 6.45pm Thursday 13th January, 2022 Kate Gaul

The team have, yet again, set the standard for what can be achieved outside the theatrical mainstream. Image: Robert Catto Nat Randall and Anna Breckon, co-creators of the global theatre phenomenon – durational performance “The Second Woman” - join forces once more to critique the conventions of the couple drama and explore the ordinary and extraordinary facets of queer relationships. ‘Set Piece” arrives at Sydney Festival with quite the pedigree. A multi media 4-hander (8 -hander if you count the onstage camera operators) set in traverse in Bay 20, Carriageworks. Directed by Breckon and designed by Genevieve Murrray (of Future Method Studio who also designed “The Second Woman”), it looks like a festival piece. An evening for the connoisseur. We see through open metal-framed walls into a detailed studio apartment complete with bathroom (the toilet is frequently visited), kitchen (where drinks and snacks are meticulously prepared), eating nook and a large bed – almost the centrepiece – atop a stunning white shagpile carpet. Sex toys, empty bottles, drug taking paraphernalia, campy iridescent decorations, Aldi cheese and spilt wine – there is plenty to discover. What cannot immediately be seen is revealed through the incredible camera work from both the roaming steady cam operators and fixed cameras inside the apartment. An older couple - Maggie (Anni Finsterer) and her partner (Dina Panozzo) – are hosting Holly (Nat Randall) and Nic (Carly Sheppard). Subversive shades of “Whose Afraid of Virginia Woolf” abound but this is a more interesting exploration of intergenerational relationship, desire, fantasy – of the erotic and emotional dynamics between women. Four lesbians hanging out imbibing too much, talking shit, fanaticising a little too much (or not enough) being ordinary. The dialogue is crafted from the everyday, the occasional trashy low-brow or pop reference – it’s mostly commonplace. The entire scenario is played with the illusion of intense naturalism which allows a seamless intersection of theatre and film – we watch moments, gestures, and subtexts emerge in close up and extreme close-up. The audience is drawn tightly into a scene, which is replayed. Lines are swapped, action dances, relationships deepen (or not). Seduction, conflict, ennui – it’s a breathtaking and sometime uncomfortable 90 minutes. Joan Armatrading’s “Love and affection” has a fitting moment. The heat, raunch and romance from the heart, gut and crotch perfectly echo the work of the four incredible women in the cast. Nat Randall has a mesmerising naivety as Holly. Carly Sheppard thrillingly navigates Nic’s ambiguous intentions. Dina Panozzzo gives a performance rich in subtext (and a dose of salacity!). Anni Finsterer is oak-barrelled bravura as she prowls the stage, every line a ruthless retort. Kate Gaul Sydney Festival, Carriageworks 8.30pm Friday 7th January 2022

3/5 Bridal Bouquets! By Joshua Hamilton. Presented by New Theatre, Sydney “Significant Other” by American writer Joshua Harmon. Jordan is gay man — staring down the devastation that is 30 — with three close female friends, Kiki, Vanessa and Laura. Each gal pal heads to the altar, as their beloved gay friend struggles to find a love of his own. Jordan’s only constant is his grandmother and this means listening to stories more than once. “Significant Other” is a bittersweet comedy about romantic yearning given a well-cast, smart and confident production by director Hayden Tonazzi. Once you get past the heteronormative world of the play, that the women have nothing in their lives apart from the men they adore (or is it hunt… it’s a jungle out there!), and the writing’s sometimes-crushing sentimentality it is possible to be moved. Stunning Tom Rodgers (who plays Jordan) creates a character with both humour and humanity. In one small scene he is waiting to go out for a drink with a friend who has arrived in New York. The hope that this encounter may become something more is incredibly wrenching as is the surface realisation that it will probably come to nothing. Inside the whip cracking dialogue and one more messy bachelorette party there’s a heart to this play. Written before marriage equality in the USA one wonders if Jordan’s predicament may have been different in a more equal world. Tom Rodgers also delivers a couple of zinger monologues: the first when workmate, Will (a brilliant Matthew McDonald, who excels in all the small roles) emerges from a swimming pool; and later when Jordan crazily deliberates about pressing send on an unrequited love email. Arghh … its ugly and unhinged and this is where the play and this production are at its best. It’s when the pain of fleeting friendships, loneliness and long nights take hold. Dominique Purdue (Vanessa), Isabella Williams (Kiki) and Laura McInnes (Laura) amuse as the besties . The play is punctuated by visits by Jordan to his grandmother (warmly played by Helen Tonkin). She’s out of her depth with Jordan’s love dilemma but the scenes serve to underline the theme of loss and melancholy as granny slowly starts to lose her memory. The entire design from set (Hamish Elliot), costumes (Kate Beere), music (Oliver Beard) and sound (Aron Murray) demand special mention. Big ups to lighting designer Morgan Moroney – proving once again a remarkable eye for colour, detail and tone. It’s always super exciting to catch the work of emerging directors, creative teams and actors – especially in the productions in the year following drama school. We’ve seen a handful of smart, electric and intelligent works at New Theatre created by such teams. In a city where spaces are disappearing and opportunities for artists and audiences are diminishing perhaps it’s time for theatres like the New to extend development, programming and producing slots. Given the size and response of this evening’s audience they could do far worse. Kate Gaul 13 June 2021