The new show by puppetry group Highly Strung is sharp, heartwarming and unapologetically unpretentious.
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In pedestalling the objects on white fabrics and casing them away behind glass, Naqvi brings immense value to objects which are a part of her everyday life, creating them into symbols of her and her community’s strength.
While the play showcased the devastating realities of terminal illness, it ultimately highlighted how ‘wit’ can instil a sense of determination in desperate times.
Navigating through our collective grief is non-linear, joy is not the absence of grief nor is it the absence of criticality, and throughout the seven total venues participating in this year’s Biennale, we see how they try to expand on the complexity of celebration.
Despite its overwrought premise, director Jane Angharad manages to bring out the play’s more subtle themes through the intimacy she develops between the characters and the audience.
Whilst there were flaws in its execution, the production’s genuine attempt to bring something new to a play with such a fixed identity is admirable.
It is packed with heart, wrapped up in a package of pop hits and tied together with the bow of an incredibly talented cast.
Yussef Dayes was unparalleled at the Sydney Opera House. That might have been the problem.
“You can take out locations, our music, the way we dress, the way we adapted to the desert lifestyle, language, religion but you can’t show our fucking faces.”
A deafening Wednesday night with one of the most bombastic legacy rock bands touring today.