![]() The succinct description of the basic plot in this City News review gave me a huge sense of relief. I’ve had a year to monkey with the performance and expositional challenges of the play and I can really see that work starting to pay off. There was something great about having open sky above me while insisting to the audience that we were deep beneath the sea. The space, while much bigger than I’ve had for this show before, was still intimate enough for me to zero in on individual crowd members with ease. I was the ‘after hours’ show on three consecutive nights and fluked some beautifully warm weather. At this stage the script has become a sort of mental deck of cards that I can slightly reshuffle in the moment, and the festival techs did a miraculous job of improvising cues with me on the fly. Of course once I was into it the chance to augment my costume/instrument with full-blown theatrical lighting was wonderful. I couldn’t resist the chance to perform there, even though it cut against the militant zero-external-tech approach I’ve taken to Bomb Collar so far. A two-week outdoor theatre festival staged in a purpose-built temporary theatre space right outside the Canberra Theatre Centre, the whole thing was curated with an aggressive commitment to the experimental. ![]() The Public Theatre is the brainchild of Julian Hobba and his Aspen Island Theatre Company. None of these were as nerve-wracking as doing the show in my home-town. I’ve done the show in a storeroom full of pigeon feathers in Newcastle, in a 100-year-old puppetry theatre in Manila, in a live music venue in Belgrade and in a shipping container decorated in animal heads in a Melbourne park. It’s been a full year since I started touring Bomb Collar, my one-man science fiction cabaret musical. ![]()
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