Little Shop of Horrors

Little shop… Little shoppa horrors… Little shop… Little shoppa terrors…


Oh right. The review!

Without a doubt this has to be one of my favourite musicals. In saying that I am probably biased as I’ve seen three separate performances in the last three years.


The storyline follows the meek Seymour, an ex-street-urchin-come-shop-assistant at Mushnick’s Flowers after he discovers a strange an interesting new plant: the Audrey II. Naming the plant after the beautiful shop-girl Seymour is crushing on, things appear to be looking up for Seymour. That is, until Audrey’s boyfriend, an abusive dentist appears to take her away. Meanwhile the Audrey II is suffering and while tending to the plant Seymour discovers its dark secret, the plant has a taste for blood! Before he can do anything, Seymour is swept up in a whirlwind of interviews and lecturing tours as his discovery of a new and interesting plant is publicised. Where would he be without the plant?


Unlike either of the performances I’ve seen previously, The Adelaide Theatre Company uses a massive cast of junior dancers and singers as backup dancers, adding to the fun of the show.


Being part of the audience on Saturday night was a privilege and a wonder. There was so much energy in the hall and it was clear that may of the performers onstage were enjoying themselves. It was an almost flawless performance, the only slip up being well recovered from. Throughout the show the whole crowd was buzzing with energy, even dancing along as the theme music returned signalling the end of intermission and giving a standing ovation at the conclusion of the show.


Just remember folks, whatever you do, don’t feed the plants!


Words by Kayla Gaskell.

Five stars.

Little Shop of Horrors is playing at the Norwood Concert Hall at 2:30pm and 7:30pm Sunday 4th of March. Tickets available here.

Your Bard

Treasury 1860’s front bar provides an intimate scene for our audience with the Bard. Will Shakespeare comes alive for an hour to discuss his career, the highs and lows of life, and the seemingly immortal question of whether he wrote his plays.

Your Bard deals in genius wordplay, Shakespearean in-jokes, and general theatrical joy. This is not a play (let alone a play within a play) – this is something quite different. Gone is the fourth wall and other expected elements of theatre and instead we have a real and true audience with Mr Shakespeare.

We are taken through his career, lost years, and emergence as a playwright. Dealing with mystery and questions as this performance does, it is only fitting that once we have some answers, we are provided only with questions. Did William Shakespeare write his own plays? Of course. That was always what I was taught by the most passionate lovers of Shakespeare I’ve known and an answer given from the performance’s start to its end. That’s not an end to proceedings, though. It’s merely a beginning, as much more fascinating questions are raised throughout.

The show is truly a thorough success. It’s true that those who already have a love of Shakespeare will probably get more out of it, but there is still plenty to enjoy for someone still new to the worlds of William Shakespeare. The fact that the show is able to work on so many levels, according to the audience member’s familiarity with the immortal Bard, is a testament to the absolute success of the performance.

For someone already familiar with Shakespeare, this is unmissable theatre. For someone new to Shakespeare, this is still sure to be an enjoyable, and even educational play.

It’s hard to define the performance by traditional standards as it feels so natural and perfected by performer Nicholas Collett that it’s easy to suspend all disbelief and simply enjoy your audience with the Bard.

In character, Collett takes you through Shakespeare’s career, noting such famed plays as Romeo & Juliet, Hamlet, and Mac- sorry, the Scottish Play. He also takes you through Shakespeare’s life, such as his marriage to Anne Hathaway, the loss of his son Hamnet, and into his final few years.

It’s an excellent show, played to perfection, and there’s not really any other show that allows you to shake the hand of Shakespeare as he pops by the bar for a quick beer.


Words by Liam McNally

Four and a half stars.

Your Bard is playing at Treasury 1860 on February 27-March 1, and March 3 & 4. It is also at Rastelli at Stirling Fringe March 11 & 12. Tickets available here.

Once Were Pirates

Life is strange and living it is hard – especially if you’re actually a pirate whose been transported in time to the 21st century. This is the premise that Once Were Pirates revolves around. Presented by Gobsmacked Theatre Company (previous recipients of the Holden Street Theatres Award at the 2016 Adelaide Fringe), the play tells the story of Shane (Kyron Weetra) and Gareth (Joshua Mensch) who are as marooned in time as they were supposed to have been in the past. They must navigate the uncharted waters of what it means to be a part of the 21st century and the complicated space of trying to forge identities in a world where their old life means nothing. As Shane and Gareth try to understand the world they live in – boat people, modern pirates, call centres – they reveal just how bizarre and complicated life actually is.

Once Were Pirates follows Shane and Gareth’s from their get-rich-quick scheme of winning a million dollars in a game show, to Gareth’s acceptance of the need to fit in with their new society, Shane’s inability to do the same, and then the play’s bitter-sweet conclusion. One of the utter strengths to this play was the portrayal of Gareth and Shane’s relationship to one another.  Even as they cavort and fight, their connections to one-another are undeniable. The play is staged in a small theatre space – less than twenty people would fit comfortably in the room – and this immediately helped to create a sense of intimacy between both the actors and the audience.

The parts of the play that became utterly entrancing to watch were when both character’s blustering fell aside to reveal raw human truth. Weetra’s portrayal of Shane’s struggle to deal with a world that scares him, an uprooted identity, and a fear of being left behind by Gareth was well handled. Mensch in particular was captivating in the play’s more serious moments; Gareth’s attempt to find his place in society and his difficulties in supporting Shane were raw and honest within his confessions. With such strong depictions of these attitudes, the reversal of their positions at the end of the play were all the more striking.

There are a lot of layers to this show – so many that it almost felt like not enough attention could be paid to all of them. Shane’s first monologue was especially intriguing when combined with the peppering suggestions of gender, sexuality issues, and masculinity – but with only an hour’s run time, most of the attention rested on opening up the ‘larger questions’ of place and society.

Once Were Pirates is a unique exploration of societal norms where the darkly comic humour is set against complex, serious, matters. It left me with a deep sympathy for everyone completely terrified while trying to function in our deeply screwy society, a question as to whether call-centres need to exist, and a desperate need to use the phrase ‘trifecta of fuckery’ as soon as possible.


Words by Taeghan Buggy.

Four stars.

Once Were Captains is playing at Holden Street Theatres every Friday, Saturday, and Sunday, until March 11. Tickets available here.


How to Drink Wine Like a Wanker

How to Drink Wine Like a Wanker was not what I expected. It had far more emotional heft and raw truth about than one might expect. It manages to evoke in the audience a mixture of emotions as complex and heady as even the most fascinating of wines.

Nestled into the Treasury 1860 bar, the show has an intimate feel, which serves to make the show’s more hard-hitting moments all the more powerful, and reminded me somewhat of the setting for Cheers. A bar, the universal problems of human angst and confusion, and some alcohol. It’s quite the mixture. There’s also a touch of Sideways about it – but dare I say, better.

With a deftness of touch performer Anna Thomas is able to take us through the full range of human emotions in an hour. In the hands of a less skilled performer, the changes between the light and whimsical and the moving and powerful would have jarred. Not so here, as the pacing and shifting of tone is handled artfully.

The show takes the audiences to places they would be unlikely to expect for a show with such whimsical title but that serves only to add to the performance’s strengths.

The show is built around six wines: first three whites, then three reds. The comparison between characteristic of the wine and emotions and experiences is handled excellently. The audience has the option to play along and taste each wine, creating a journey that transcends senses and taps into something intrinsic. I heartily suggest you elect to taste the wines as you go through as this opens up elements that may otherwise be missed.

Anna Thomas describes the wine in the manner of a ‘wine wanker’ but also imparts upon it a feeling, an impression, and with each sip, it is hard to argue with the choices she makes and the conclusions she draws. This is an incredibly personal, honest, and affecting performance and received one of the most thoroughly-earned rounds of applause I’ve ever witnessed.

All around, a transcendent performance, mounted well, and with a fitting choice of venue in Treasury 1860. This sharply honest, painfully real, and warmly human show will tick all the emotional boxes and manages, somehow, to be educational along the way too.


Words by Liam McNally.

Five stars.

How to Drink Wine Like a Wanker is playing at Treasury 1860 every Saturday and Sunday until March 25. Tickets available here.


Everyone reaches a crossroads in their life, where two possible paths lie before you, each with unknown results. This is the scenario young Josh (Daniel Cropley) finds himself in Shivered, the latest play from Cropley Productions. A dramatic thriller, albeit with numerous comedic moments, this performance explores the pressure we put on young people, specifically high school students, to pick a path and determine their future at an age where many of us have only barely started to comprehend this whole “adult” thing, let alone the weight of the next sixty-odd years.

The classic “follow your dreams vs be boring and sensible” plot isn’t anything new, but the approach here is definitely unique. And we can see the stakes complicated with the opinions and pressures from people around Josh, such as his girlfriend Lindsey (Ashlin Petty) and supportive sister Louise (Dana Cropley).

Intertwined in this is a peculiar man (Matthew Cropley) who appears to be overly invested in our protagonist. This leads to some particularly dark and intense moments, performed beautifully by the actors. At times there is a disconnect at times between the serious and the lighter moments of the play. In a single scene we have a creepy interaction between Josh and his would-be stalker, and then the wildly comical antics of Dave the Barista (Matt Ahearn), recalling his most infamous customer and an unusual request. This scene was indeed one of the funniest in the show, and I’m sure I’ll be chuckling to myself “pupperchinos” for a while. But while all these elements are solid, the transition between light and darkness could be a little smoother.

The Twist – because there’s always a twist in a thriller – is indeed satisfying and well crafted, if a bit loosely explained. But it didn’t really need to be. It just works. And in the scope of a 50 minute Fringe performance you can only explore so many details.

Theatre is always a risk, especially when you’re a small company without the backing of flashy sponsors and large production department. And it’s so great to see more and more bourgeoning artists putting themselves out there and giving it a go. And I really have to commend this young team for taking on such dark and complex themes. It’s not easy to demonstrate an existential crisis on the stage in such a thoughtful and measured way, and I certainly look forward to see what project they take on next.

Shivered is definitely relatable for anyone who has ever felt themselves torn between two (or more) life paths, or for anyone who may look back and question if they picked the right one. There are no easy answers to these big philosophical questions, but it’s still comforting to watch them play out and realise you’re far from alone in the uneasiness.

4/5 stars

Words by Simone Corletto.

Simone earlier interviewed the team behind Shivered.

Shivered is being performed at Tandanya Theatre at Live from Tandanya this weekend on the 16th, 17th and 18th of February. 

Tickets available here.

In Conversation: the team behind Shivered

The Fringe Festival is full of up-and-coming producers standing up alongside experienced professionals. As part of our exploration of the wonderful experiences on offer, Tulpa’s own Simone Corletto sat down with star sibling co-creators Dana and Matthew Cropley of Cropley Productions to discuss their latest production.


So, tell us about your new play, Shivered:

Matt: It’s a play about a young person, in year 12, on the cusp of trying to decide which life path to take in their life. I think it’s pretty universal theme for a lot of young people, especially artistic young people, wondering if they should pursue their passion or go for a more stable career or something in between. This is something our younger brother, who stars in the play, is struggling with that himself as a year 12 student; he wants to be an actor and take it seriously but he doesn’t know if that’s a realistic thing, and he’s been struggling with that. And we wanted to explore this idea in a way that still entertaining.

Dana: And as people who are putting on a play in the Fringe, it’s something we’ve personally experienced as well. Matthew went the more creative path, studying film-making and now doing writing, and I’m doing Psychology, so I went the more stable career path, but I’m trying to balance doing acting and Fringe stuff with that, so it’s definitely still a very relevant issue for us so hopefully we can portray it very realistically.

Matt: It’s easy to agonise over what to do with your life in any respect, and to wonder if you made the right decision or if you screwed everything up, and I think what we’re trying to do is explore the possibility without really offering a straight answer, we’re just opening the conversation a bit.  But also it’s an entertaining play about a stalker, so you know, it’s thrilling and suspenseful, and it’s still an entertaining story in and of itself.


Considering your backgrounds aren’t strictly theatre based, what made you decide to use a play to explore these ideas?

Dana: Our whole family has always enjoyed acting and have done it as a hobby since we were little kids. When I was in year 12 we performed Blackrock by Nick Enwright as our year 12 play, and everyone in the cast really wanted to do it again, so we were decided to perform it in the Fringe. I ended up directing that show and I got Matthew and our brother Daniel to be in it, and we really enjoyed it. We’d developed a relationship with Tandanya Theatre, where we performed that show, and so we decided to put on another show the next year. I asked Matt to write a script, and that became Linger, which we performed last year. Now we’re really just in the pattern of doing one every year and we really enjoy it so we just want to keep it going for as long as we can.

Matt: I think, in terms of why a play, there’s the blend of psychology and the arts. Linger was about teenage depression and suicide and looking at that in a realistic way, which we were able to do with Dana and her psychology studies, having learned a lot about that which I think gave us some gravitas behind the story. I think this is a similar thing in that it’s issues pertaining to the mental health of young people which we can look at with my artistic background and Dana’s psychology background, in a well-rounded way. Also through my perspective, I did a film degree and worked as corporate filmmaker for a while, and have come into doing more writing things and I’ve always done acting. A play is a good blend of that literary and psychology, so they’re useful skills.


After your first original play, Linger, last year, is there anything you learned about that experience which you’ve taken on board this time?

Dana: Definitely. We really have a good idea of how to direct and produce now, and we have taken a lot of feedback from reviews last year and we tried to include that this year. I think even partially, subconsciously, we got a lot of praise for presenting these ideas in a realistic way, so this year we placed more emphasis on trying to realistically connect with people this indecision, and it’s a lot easier to do that because we are that age, and so it’s not like we’re older people trying assume this is how young people feel, we can just say how we feel and how it applies to everyone.

Matt: For me, with my film background, Linger last year it was kind of written, staged in a more filmic way, and this year I’ve really learned what works best on stage compared to film, and I think that the stagecraft and the script and the directorial stuff has really been fine-tuned.


Is this play aimed at younger audiences or will older people get something out of it as well?

Dana: We figure that everyone in their life, no matter what career you go into, has experienced having to make a choice about what path to take, so it’s applicable to young people currently going through that, but also older audiences will be able to relate to it because they may have already gone through it at some point. Plus, it’s just a thrilling play in and of itself.

Matt: And we tried to show a young person who is agonising over what choices to make, and an older person who has made those choices, agonising over whether they were the right ones, so we do cover it from both perspectives. And even if you have no connections to the themes, the story could be taken at face value.


How long has taken to develop this play?

Matt: This story and these themes are something I’ve thought about for a long time and wanted to express in some way, but the expression of it in this play started last year as soon as Linger wrapped up. We got together and brainstormed what to do next. And this has gone through quite a few drafts of this play, which we started basically since the last show, and we started rehearsals in August. It’s been quite an intensive script development period, with about a year in actual development.


What are some of the challenges you found putting this show together?

Dana: I found that in terms of actually putting on the play, funding is always a big issue. This is obviously a very expensive process to do. Getting sponsors like that is always hopeful – I would say that’s the main challenge. It’s hard work to reach out to the media and the venue and get props and stuff, but if you just do it you’ll get it done. You have to force yourself to do it.

Matt: I think with this one it’s – the struggle I found creatively is working this sort of theme and story without sounding really preachy or didactic. I suppose, and just finding where the actual conflict is. Wanting to tell this story about choosing what to do in your life and with a skilled approach and it’s been a struggle finding the right way to tell that story so that its still entertaining and realistic. It’s been an interesting drill down into those layers and layers of story. The last play I think the story was quite obviously there and this one was more of a creative struggle, but I think this play is a lot better. Also the last play we had a substantially larger cast and it was a bigger undertaking but this time we’ve minimised the cast and various other things, having less stuff but being higher quality.


Why did you decide launch your play here at the Fringe?

Matt: The Fringe is great as there’s no real gatekeepers and if you can put on a play, you are allowed to. You’re judged on the quality of your work rather than who you are and what you’ve done, so for young people trying to break into the industry it’s the perfect opportunity to do that. And I think that’s especially great for the sort of message we’re trying to explore, finding the artistic life path.

Dana: Also, with the fringe, basically all of Adelaide wants to get involved and see stuff compared to just a random time of year putting on a play yourself where you don’t get the sort of advertising the Fringe provides or a guaranteed audience to plug your show to, so that comes in handy.


Are you looking to tour the show elsewhere?

Matt: I think that’s something we’d love to do. We’ve explored that idea with the last play but it didn’t really pan out. But depending on the response with this one, it’s definitely something we’d look into seriously.

Dana: I think it would definitely be easier with a smaller cast, as there’s five of us, so in terms of scheduling and stuff to be able to take it elsewhere, this year would be much more viable than last year.


Any advice for budding scriptwriters wanting to get their start with the Fringe?

Matt: It’s easy to be paralysed by self-doubt, wondering if you’re going to be able to do it properly, but just write the script, get some people together and make something. Especially with the Fringe, you can just sign up and do it. Don’t wait for someone else to give you the opportunity; just make your own opportunity and do something.

Dana: And that’s really why we wanted to start doing shows with the Fringe. Adelaide’s not really a hub of the acting world so if we can just create those roles for ourselves and create something we know can do every year, then why not do that? It’s just such a good opportunity. And for advice, I’d say in terms of actually putting on the show, it can seem very daunting, with so many different steps to put on a Fringe show, and it’s a lot of work, but if you just make yourself do the work and get everything done in time then it’s not really as intimidating as it seems.


Shivered is being performed at Tandanya Theatre at Live from Tandanya this weekend on the 16th, 17th and 18th of February. Tickets available here.

New Wave Audio Theatre Episode One: Between

New Wave is a podcast series in which writers and actors work together to present the listener with three unique pieces of audio theatre. This is an excellent opportunity for Adelaide creatives to share their talents and also for people from all walks of life to indulge in theatre performance, despite not having the time or money to get to a physical theatre.

Episode One: Beyond, presents the audience with three short plays. Alys Messenger’s Hurt Money, Taeghan Buggy’s Stateline’s, and Anita Sanders Limbo. Working together with director Connor Reidy and actors Cat Galligani, David Hampton, Kieran Drost, Nicola O’Farrell, Hannah Hilbig, and Max Kowalick, these plays are performed through voice acting, without compromising the audience experience.

Alys Messenger’s Hurt Money follows the story of Lucia (Cat Galligani) and Anthony’s (David Hampton) sibling conflict in face of their mother’s illness. Lucia and Anthony have been estranged since their father died and Anthony convinced his mother to sell the house and invest in a ‘luxury retirement village for rich wankers on the Gold Coast’. But the investment still hasn’t paid off, and, as Anthony admits, it might not have been such a great idea after all. With his honesty and Lucia’s need for someone to care for and about, it seems like they might just be able to push aside their problems and share a nostalgic meal of dumplings from their favourite restaurant.

Taeghan Buggy’s Stateline’s follows the story of Sarah and Ria who accidently board the same bus to Victoria, old friends who haven’t seen each other in years. But what could have been a simple, innocent conversation turns into both girls spilling their guts and sharing their problems. Sarah is pregnant with Tom’s child. She’s going to Melbourne to get an abortion, against Tom’s wishes. In doing so she’s risking Tom’s wrath—but how can she keep a baby when he’s too afraid to commit to their relationship? Ria’s life isn’t going much better. She’s headed to Geelong to attend her great uncle’s funeral, but this uncle is the one who outed her to the entire family, causing her estrangement and the shunning of her girlfriend, Kate. Going against Kate’s wishes, Ria is ‘swimming back to her homophobic family’, desperately wanting to give them a chance. The girls use the bus trip to offer each other much needed support and encouragement to do what they think is right.

Anita Sanders’ Limbo follows a male and female character who are stuck in limbo and discussing their future potential—limbo being one of the only places they can stand in one place. The man questions why people must be perpetually moving forward while the woman, who has recently arrived, questions the bus to the future. They are both nostalgic for the past and resent their pre-planned futures, relishing the opportunity to stand still instead of perpetually moving forward— ‘Every decision was made in a hurry, hoping for a future that would be brighter than the past’. The future is a fog, a mystery waiting to be uncovered, yet unless they embrace the future they will be consumed by the dark—the dark which has already claimed Sammy. The piece shows the importance of moving forward and maintaining connections and relationships.

All three of these pieces allow the audience to enjoy, dissect, and consider the messages presented. The audio effects used serve only to enhance the audience experience while the pieces themselves call for a reflection on the various relationships that exist and are maintained throughout our lives. I would highly recommend this free audio theatre experience as a way to embrace theatre and support locally produced art. I look forward to hearing the second instalment, Algorithm, which is due to be released on December 7.

Words by Kayla Gaskell

See more from New Wave Audio Theatre at:

In Conversation With: New Wave Audio Theatre

Tulpa Magazine  recently sat down with the cast and crew of the New Wave Audio Theatre to discuss their forthcoming full-cast audio plays. This new venture is headlined by a talented group of young creatives seeking to bring the products of the arts community to more people and show the works of unheralded artists. We were joined by writers Taeghan Buggy and Alys Messenger, actors Cat Galligani and David Hampton, director Connor Reidy, and project manager Anita Sanders.

What the New Wave Audio Theatre team have produced is characterised by their collaborative nature. The impression one has when sitting down with this team is one of cohesion and mutual pride in their work.

new wave

Pictured (Left to right): Taeghan Buggy, Alys Messenger, Cat Galligani, David Hampton, Connor Reidy, and Anita Sanders.

The first thing we asked them is why they chose podcasts as their medium of choice. Anita explained that the dual benefits inherent to this format are the cost-effective nature of production and the ability for a podcast to transcend your surroundings. With the ability to put in your headphones and listen wherever you might be, the convenience of the format is greater than most. Anita also offered her view on the effect audio has on an actor’s performance as the actor cannot use gestures or hide behind costumes – they must ensure all their effort is put towards the use of their voice.

Actor David Hampton explained that learning to focus his performance through his voice, when he is used to working with posture, positioning, costume, and action, was an interesting experience. He recalls director Connor Reidy approaching him at an early recording to tell him ‘I can see you acting it but I can’t hear you acting it’. He had to shift his mindset from how he was previously taught to act.

The accessibility of the format is an important part of New Wave. It has none of the demands or barriers of more traditional theatre such as cost and set times. With a podcast, the theatre comes to you. It enables the listener to access emerging artists’ work without the investment of an entire evening. This not only benefits the artists involved but also the viewer. New Wave brings theatre to all levels of society, including those who have neither time nor money to spare on traditional theatre.

Director Connor Reidy  found working with writers and actors a rewarding experience, enabling him to see what each party sought to achieve. It was unlike anything Connor had done before.

The larger number of people in the workshop environment of the scripting process made for more variety in ideas and had plans go in unexpected directions, writer Taeghan Buggy said. Three or four people would be in a room together working from the initial ideas and themes, teasing out a concept from these beginnings. Alys Messenger recalls that on one occasion, the team created a mind map following the development of ideas, and eventually they ended up in a place they had never expected.

Anita was key in looking for the writers to bring in to the project. Her priorities were in finding writers with a passion for the performing arts as this project was not just about the writing but also the performance itself. Anita chose Taeghan for her interest in poetry, which she felt would translate well to audio plays. Connor recalls the poetic nature of the opening of one play (episode three) and how effective this was.

Connor Reidy was largely responsible for finding actors, knowing more actors and having the more available networks, being in the final degree of a performing arts degree. Actor Cat Galligani explains that she had worked on a project with Connor at the beginning of the year and that he was able to bring three or four actors over from that project.

According to Connor, what they wanted to achieve in pursuing this project was showcasing artists’ voices. Adding that in Adelaide, we are lucky to have quite a large network of creative people but unfortunately there are limited opportunities. This project gives listeners the chance to sample the talent of the Adelaide arts community and reach out and support them. Connor said that while the arts are heavily supported during February and March, it filters off through the rest of the year. New Wave Audio Theatre coming at the end of the year gives them a good opportunity to connect with audiences before they are flooded with mad March.

Taeghan said that from her perspective as a writer, her goals focused more on capturing the attention of the audience by providing something that drew them in and made them want to keep listening.

Writer Alys Messenger, who tends to focus on directing, refocused on writing for this project. With a background in drama, she offers a different perspective again. For her, the goal was to look into the dynamics of relationships, because that’s where she feels a lot of drama lies, in that point of butting heads between two people. Though, she added, not necessarily people, as you’ll find out in one of them.

It’s surely the business of a writer to pique the curiosity of their audience, after all.

From an actor’s perspective, Cat Galligani said that she hopes the plays offer an escape. Whether that be from something going on in the listener’s life, or simply boredom, that wherever they should be, they hear someone else’s problems, someone else’s dynamic, and they get a new experience.

Looking back at their experiences, all expressed having enjoyed their time. Connor said that working in a form that was solely voice was interesting and enabled the development of new skills. Cat’s experiences seem to be similar as she explained she found the focus on voice, and the development of an entire character using just voice, to be a good experience, enabling her to try things she had not previously attempted, such as new accents.

Taeghan found the process very free. The method of telling the story (all audio, a set time) was constrained but within that, there was great freedom in what they could tell. Taeghan said Anita told them she felt their work felt fresh. It is something of a departure from larger theatre where they choose the plays they know to be a success and thus restrict themselves from fresher and younger voices. Getting a younger voice out there in a medium accessible for younger people is a goal one feels is held with universal importance by the New Wave team.

For Alys, the workshop environment and the nature of generating ideas within that was a worthy experience. Harking back to Connor’s comment of limited opportunities, Alys said she feels that it is often necessary to create opportunities, just as they have done with New Wave.

David described the New Wave experience as being akin to a ‘creative pallet-cleanser’ – working with a group almost entirely new to him, he felt he had to rethink approaches to character.

For Cat the scripts she worked on with New Wave were some of the easiest scripts she has performed because of how well they were written. One such script, Hurt Money, by Alys Messenger was one of the first scripts she had picked up and felt certain what her character was about, her background and motivation.

Anita stressed the importance of providing channels of distribution for artists as not enough exist to take the amount of art produced in Adelaide. That by setting about creating and distributing art, they were able to show the ‘amazing talent’ already present in Adelaide that just needed to be seen. They sought to create a positive environment of growth that would enable artists to be acknowledged both in the industry and by the general public.

What of the future? The chorus of approval for more New Wave Audio Theatre is absolute. Everyone expressed a desire to do more should the opportunity arise.

Words by Liam McNally

Photography by Lisandra Linde

With thanks to Anita Sanders, Alys Messenger, Taeghan Buggy, David Hampton, and Cat Galligani.

New Wave Audio Theatre’s first episode is to be released on 30th November. Be sure to check back on Tulpa for the review on Wednesday.

Check New Wave Audio Theatre out at their site: