
We care about these characters. We engage with their journey, coming to understand their multiple and conflicting fears – of confinement, of separation, of the outside world, of their past – and eventually even to celebrate their love for each other .

The statuesque Moira Finucane opened the show with the same totally crazy performance that impressed 10 years ago, with the balloons and the balloons and the crazy techno music and the balloons and the crazy dance moves.

A tale of hopeless love triangles, unfulfilled dreams and existential musings, the Black Swan State Theatre’s adaptation of The Seagull was brought to life by a solid cast.

In the spirit of Snicket, Woodley is playful, energetic and clever – and it is a big stage, a big orchestra – he swings through the sections always keeping his eye on the prize – us.

Nick Coyle suffers from low self-esteem. At least that’s what the recording of his voice (that he has prepared in advance) leads us to believe – as we watch him toss aside pair after pair after pair… of novelty glasses. And a black veil.

Tucked away amongst thousands (literally) of Fringe shows this is a rare Australian gem that transports the audience back to post-war Australia.

The stream-of-consciousness style writing offers the audience a glimpse into an outback town where two unlikely teenagers are drawn together to combat institutions, perception, family and expectation.