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Articles by Triss Niemi
Grief, community and memory: Log Boy is a wickedly intelligent post‑AIDS play Original
Anthony (Anthony Nicola) is an anxious, grief-stricken mess mourning the loss of his partner, Michael, who died from AIDS. Over the weekend of his partner’s funeral, Anthony must play host to Michael’s closest and cattiest friends, Justin (Paul Capsis) and Jamie (Paul Reichstein). All the while, Anthony is cruised by a spectral Leather Daddy (Chris Asimos) determined to keep him bound to his grief. I would almost dare to call Anthony Nocera’s Log Boy a gesture towards a post-AIDS play.
Grief, community and memory: Log Boy is a wickedly intelligent post-AIDS play
Jonathan van der Knaap/STCSA Anthony (Anthony Nicola) is an anxious, grief-stricken mess mourning the loss of his partner, Michael, who died from AIDS. Over the weekend of his partner’s funeral, Anthony must play host to Michael’s closest and cattiest friends, Justin (Paul Capsis) and Jamie (Paul Reichstein). All the while, Anthony is cruised by a spectral Leather Daddy (Chris Asimos) determined to keep him bound to his grief.
Unveiling Shadows | Joshua Taliani
I think it is only honest to begin by saying it often makes me nervous when I see a work advertised as being “a marginalised creative’s exploration of their own trauma and story of survival”. You might think this is because I find that sort of storytelling to be overdone, but my hesitation comes from a different source. I often find the dramaturgies of these works exploitative in that they take too much from the creative who makes and performs them.
Eucalyptus - The Opera | Brisbane Festival, QPAC and Queensland Symphony Orchestra
The opera is often regarded as grand, luxurious, and extremely European. Most of them (at least the classics of the form) are performed in either French or Italian and tell stories about the royal, the wealthy, the divine, or the interactions of common folk with those forces (power, money, god/s). Eucalyptus – The Operain adapting a work of Australian fiction explores what would happen if the everyday of a small town, full of small people was communicated as grandly as opera allows.
Volcano | Luke Murphy's Attic Projects
We have all in one way or another become accustomed to the culture of binge viewing that streaming services like Netflix have proliferated in recent years. We wait with bated breath for the latest seasons of our faves to drop, snuggle up on the couch with our favourite snacks, and barrel our way through eight to twelve episodes of television like it’s nothing. Each episode ends on a vicious cliff-hanger, forcing you to skip the end credits and begin the next as soon as humanly possible.
Psycho Beach Party | The X Collective
The hyper camp drag parodying of classic, cult classic, unknown films & film genres is not a new genre of performance. We have seen this form utilised time and again in drag spaces to utterly delightful effects, the theatrical production of such… pantomimes, I guess you could them is, however, much more of an American or British tradition.
Dido & Aeneas | Opera Queensland & Circa
Aeneas tells Dido that he has to leave. They fight in a stunning duet, and he eventually acquiesces, telling her he’ll defy the gods, risking death, and stay with her. She banishes him from her sight telling him the fact he even considered leaving her was enough to ruin any chance of their love flourishing (again, so fair). Aeneas leaves and Dido watches silently begging him to turn around and return to her. He does not. Dido’s condition and her heartbreak overwhelm her.
Plied and Prejudice | Woodward Productions and De Bortoli
Okay. That was cute for a minute, but I cannot keep it up. This split means that approximately four of the twenty characters are being played by a drunk performer each night. One who only gets drunker as the night goes on. That’s right folks, poor Stephen Hurst (our Mr. Darcy and drunkard for the evening I saw the show) is made to drink even more as the show progresses. By my count he downed around ten shots of tequila (no salt, no lime) across the shows 80-minute run.
[gameboy] | Amy Zhang
I am not much of a gamer. I had a DS a child, I was on Club Penguin, I was even really into Wizard 101 for a while there, but online gaming culture is largely lost on me. I do know that it can bring people together who wouldn’t otherwise connect; I also know that it can bring out the very worst in people – the anonymity, the competition, the isolation from reality.
Pacific Harmonies | Opera Queensland
The last time I went to a recital in Opera Queensland’s Studio Series my primary question going in was about how the singer would carry themselves without a character to lean on; what would the experience of the performer be? I asked this question because I knew the musical side of things was covered, that it would be excellently arranged music, sung excellently.
Dots+Loops: Rewind
I was able to see Oliver Brown’s Alexa, Write Me Some Music (2021) when it premiered at Dots+Loops: Non-Stop and it is just as great as when I saw it the first time. Haters of Spotify, Soundcloud, Duolingo or YouTube ads are given the gratification of seeing a big ole middle finger given to that kind of advertising; that which keeps you from the art and simultaneously admonishes you for being “poor”.
Banging Denmark by Van Badham | PIP Theatre
The cast handles the rigour and the romp of Badham’s text with gravitas and a great willingness to interact with the audience that surrounds them – which was great for me given anyone who knows me will tell you I’m a notoriously active audience member. The entire cast does wonderful work, but my personal stand outs were Rijen Laine as Jake and Janaki Gerard as Denyse.
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