The Optic Trilogy – Reviewed

Singaporean playwright Alfian Sa’at’s The Optic Trilogy presents three separate acts – ‘Transparency’, ‘Brilliance’, and ‘Iridescence’ – each involving a Man (Clement Yeung) and a Woman (Manaal Mahjoub) and set on July 25th, 2001. We see in turn: a woman hiringa male escort who expects sex and is instead used as a way for her to try and puzzle out her perception of Singapore as her home; a photographer whose blind model turns out to be the woman he had an obsessive crush on as a teenager; and a woman who proposes to her deceased fiancé’s ex-boyfriend in a complicated processing of grief. Two-hander plays are tricky beasts: there’s nowhere to hide when you only have yourself and one other castmate to drive the narrative from beginning to end. Unfortunately, Yeung and Mahjoub did not overcome this challenge.

Fleabag: Reviewed

Fleabag was delicious. From the neon-pink-edged set to the blaring Peaches song whose title I’m not allowed to print (but which is still stuck in my head), and the wall-to-wall collage of men in varying degrees of undress on the Barron back wall, I was expecting a similarly bold and brash script. And in many ways, it was.

Parlour Song: Reviewed

Jez Butterworth’s Parlour Song is a comedic, yet surprisingly tragic exploration of what lies under the surface of seemingly ordinary suburban lives – an engaging and almost voyeuristic look into the gradual breakdown of demolitions-man Ned (Noah Liebmiller), and the affair between his wife Joy (Hannah Raymond-Cox), and their neighbour, Dale (Louis Catliff). Being familiar with the play, I was highly impressed with how well co-directors Alexander Gillespie and Jamie Jones, and their cast, added even more amusement and dimension to the already rich characters and themes of Butterworth’s lesser-known work.