Comments Off on So you didn’t see ‘As You Like It’? What Ever Major Loser!
ShakeSoc concluded its 2024 season with what seemed like a celebration of some of their veterans, putting on As You Like It in the Ralph Wilson Theatre. Reframed in the style of the 2000s Disney classic Camp Rock, India Kazakoff and Kathryn Keane brought a new life to this Shakespearean comedy.
As You Like It follows heroine Rosalind as she flees her uncle’s court alongside her cousin Celia, whilst her lover Orlando similarly flees his brother’s court. Both end up at Camp Ardern, where Rosalind, dressed as a shepherd, pretends to cure Orlando’s love for Rosalind by having him woo her. Many characters are introduced along the way, and many marriages ensue à la Shakespearean comedies. While it’s not the easiest Shakespeare plot to follow, we think he may have broken the record for the number of weddings in a singular scene.
Yet another new venue in these treacherous times (a closed Kambri Theatre), the Ralph Wilson Theatre was a decent choice. While audience capacity was on the smaller scale, the stage size was adequate with room for characters to enter and exit through multiple wings. Maybe a niche critique from us — not that ShakeSoc had any control over this — was the uncomfortable plastic chairs that left our butts numb. Overall, this venue served the purpose of this production well, with professional sound and lighting rigs.
Directors Kazakoff and Keane are no strangers to a ShakeSoc production, which was evident in their well thought-out show. Directorial changes, including name alterations to parodies of Disney actors, a baptism using a spray bottle and a saxophone serenade, brought original comedy to a classic script. However, where some modifications to the script occurred for the Camp Rock theme, certain moments required additional changes to align with the direction, most notably a wrestling scene that became a guitar battle. Overall, more unique alterations were made to this show than previous ANU recontextualizations, allowing for a production full of nostalgia and laughter.
A standout performance from an overall strong cast came from first-year Angus Murray as Jacques. Whilst Shakespeare’s ‘All the World’s A Stage’ monologue can be a daunting undertaking, Murray rose to the occasion. Whilst Jacques is the melancholic foil of this show, this 2000s emo-esque interpretation of the role brought joy and humour.
This show witnessed the return of Toby Griffiths, playing Duke Frederick. Arguably the best technical actor, with not only the widest range and clearest diction, Griffiths should be once again applauded for another strong performance.
The backbone of the production was Georgia Nolan’s Orlando, acting as a consistent presence with occasional comedic moments. Further praise should be given to Chloe Tuazon’s Rosalind, who not only had strong romantic chemistry with Nolan, but potentially an even stronger familial bond with Ellie Fintoff’s comical Celia. Overall this veteran-heavy ensemble allowed for a strong cast that were able to play with differing interpretations of this script.
Lighting Director Jessica Luff’s use of a more professional lighting rig than Kambri’s was evident throughout, with contrasting colours, spotlights and fades ensuring an interesting overall lighting design. Whilst more minimal in the first Act, the best of this design was seen in the later half, notably the interrogation scene. Complementing Luff’s lighting was Sound Designer Tom Lyle’s sound design, featuring both music and background effects. At times, strange sound levels had us questioning whether music was intended for that particular moment. A highlight was the use of The Proclaimers ‘I’m on My Way’ during the journey scene, adding a comedic element to walking across a stage.
Set for this production consisted of a few large pieces, including a tent, a blowup boat, a paddle pool, and some greenery — though these were not used in the production. While these pieces set the scene, there was potential for more interesting and integrated designs. Overall, the props were within the specified period, complementing the direction choices, with fun nods to the 2000s including a Bluetooth earpiece, a Nokia flip phone and copies of Twilight. A moment of confusion occurred when Orlando emerged holding a crutch, later revealed to be a sword. Given the number of swords used in previous ShakeSoc productions, this seemed a strange choice.
Where set and props may have been minimal, costume design by Alana Flesser and Alex McNeil served to bring to life directors Kazakoff and Keane’s Camp Rock vision. Notes from the movie were evident in Rosalind’s double-denim layered outfit with a thin overly-long scarf, alongside Phoebe’s iconic jeans adorned with a pink butterfly and diamantes. But where the others were giving Camp Rock, Celia’s costume was giving Clueless, and we were disappointed when she didn’t have a costume change, although the iconic reveal of a headband compensated for this.
On the whole, As You Like It proved to be our favourite ShakeSoc show of the year. More committed to a distinct theme, drawing out as many jokes as possible yet still true to the Bard’s work, this production was an entertaining way to end ShakeSoc’s 2024 season. Congratulations to all involved in ShakeSoc productions this year, we can’t wait to see what 2025 has in store.
Comments Off on Nothing makes sense: The beautiful eeriness of Pomona
NUTS’ 2024 season concluded with the other-worldly Pomona, the first amateur production of this show in Australia. Neither of us had ever heard of this show, so we had very few expectations going into it, and upon leaving we were both taken by the complexity and hypnotic nature of this production.
This nonlinear work centres on Ollie, who is looking for her missing sister. Beyond this, much of the play is up to your own interpretation (we’re still coming up with competing theories about what it all means and how it ended).
NUTS staged Pomona at the Ralph Wilson Theatre. For a review of this space and the overall comfort of the seating, please refer to our review of As You Like It. For this production, the space served its purpose and beyond, with its multiple entry points adding to the ambience of this haunting experience.
Director Teagan Matthews should be celebrated for her ability to bring this immensely difficult script to life. From the moment you stepped foot into the theatre you were immersed in a spine-chilling experience that, due to the lack of intermission, never truly ended. It is evident Matthews not only read but consumed this script, and whether or not her understanding aligned with ours, it led to a thought-provoking show. Matthews’ use of physicality and movement was a particular highlight. In particular, the fight choreography between Isaac Sewak’s Charlie and Rory Carter’s Moe was well-executed and more realistic than most student theatre productions. The best directing by Matthews was the use of game pieces — both dice and Rubix cubes — to enhance the intensity of Ollie’s journey through the tunnels of Pomona. The direction and movement of this scene is difficult to explain in print, and can only be described as a beautifully intense triumph.
This performance featured a strong cast of seven, many of whom were fresh faces this season, all with the incredible ability to solve a Rubix cube on stage. We wonder if this was part of the audition process (Caitlin would have been cut). Sewak’s Charlie provided both comedic and dramatic moments throughout, and when acting alongside Carter, the pairing’s chemistry provided immense depth and range.
Kudos should be given to Alex Ellwood, whose stoicism never broke, contrasting the chaos of the surroundings. Ellwood was arguably challenged the most by the script’s time jumps, which necessitated various characterisations throughout the play, and Ellwood should be celebrated for a well-thought out performance. Marcelle Brosnan should also be applauded for acting as the show’s sounding board, providing some much needed clarity and mothering.
Though Malachi Bayley’s set never changed, it was adaptable, converting into an apartment, an office, a brothel, a gate and Pomona. The set featured multiple components that transformed what was otherwise a bare-boned theatre into Matthew’s mind. The creative set-up of black flats, some of which were adorned with graffiti and colourful posters, as well as a door, allowed for multiple points of entry, enhancing the mystery that is Pomona. Bayley also collated the props, which were well-integrated into the set, utilising the filing cabinet and numerous draws to allow for seamless transitions between scenes.
The costumes for this show were quite simple and not the focus. Whilst apt for purpose, they weren’t a stand-out of this production. A special nod should, however, go to the collection of nerdy shirts worn by Charlie throughout.
This show was technically exceptional. Both Paris Scharkie (sound) and Marty Kelly (lighting) were the creative glue holding this show together. Sound played a pivotal role in this show, with the consistent background noise making moments of silence all the more eerie. Kelly’s lighting design was interesting and truly utilised the entire capacity of the theatre’s set-up. The recurring motif of the kaleidoscope-like spiral when the Dungeons and Dragons game was being played was innovative and probably some clue about the meaning of this play, which we are still trying to figure out several hours later. The use of torches and hand-held lights in otherwise-darkness allowed the audience to feel involved in Ollie’s journey and the intensity of her path. Overall, both sound and lighting were extremely well-timed and rehearsed, aligning with even the most marginal of dialogue cues. Whilst often underappreciated, for this show in particular, it cannot be understated how impactful and considered the technical design was.
We hope one day to figure out the meaning of this show, but regardless loved every confusing and thought-provoking moment. Whilst attendance on the particular night we saw the production was low — a particular shame considering the incredible work and effort put in — hopefully, the reopening of Kambri (fingers crossed) in 2025 encourages more of ANU to experience student theatre.
Overall, NUTS should be congratulated for another incredible show and an impeccable season that was both cohesive and kept us on our toes. We can’t wait to see the direction NUTS goes in during 2025.
Comments Off on Swarming with talent: Wright Hall bee-witches with the 25th Annual Putnam Spelling Bee
When we heard that Wright Hall was making the brave choice to put on a production of The 25th Annual Putnam Spelling Bee musical this year, we were intrigued. Despite both being avid musical theatre fans, neither of us knew much about this show.
Putting on a musical is no easy feat, and Wright certainly impressed us with their ambitious delivery of this crowd-pleasing production. The show centres around a peculiar group of six students participating in a regional spelling bee. The six tweens are accompanied by three equally eclectic staff members, and four audience members selected from the crowd on the night. Each speller is highlighted with their own unique songs and backstory, allowing the audience to understand the motivation behind competing in the bee.
As we continue to explore the theatre venues of Canberra — seriously, did anyone know there were more than three? — Wright selected the Polish White Eagle Club. What seemed like a bizarre venue turned out to be a great stage, well-adapted for this show. In saying this, the set remained unchanged throughout, and this limited backstage crossing would have made most theatres suitable. The high stage had high school assembly vibes, and the only improvement that could have been made — not that Wright had any say in this — was the lack of raised seating. Overall, surprisingly the Polish Club has amazing lighting capacity and was a smart choice.
This production was directed by second-year Elizabeth Barnes, who should be applauded for her production of an ultimately cohesive and entertaining show. Barnes’ directing certainly brought out the best in this cast, whose individual talents were showcased in their distinct characterisations of their roles. A directorial challenge for this show is preparing your cast to be versatile and continually interact with the audience members brought on stage and Barnes certainly ensured both audience and cast were comfortable and engaged. Personally for us, with this particular cast, a comedic play might have been better suited. Due to the immense acting talent on-stage, and at times weaker vocal moments, a play would have highlighted the stronger aspects of the performance.
Spelling Bee did not require an excessive amount of choreography. Despite this, the choreography that was incorporated, led by Katie Leib, proved cohesive, entertaining and dynamic. One of the few numbers featuring the entire cast was ‘Pandemonium’ which proved to be one of the strongest choreographed numbers of the show. Not only was the cast in sync, but the audience members involved on stage were helpfully led along by the rest of the cast, making for a hilarious inclusion.
Centring the cast was Amy Gottschalk’s Olive, whose quiet but consistent presence showcased her extreme depth and range. Notably, the song ‘I Love You’ proved the most heartwarming number, showcasing Gottschalk, Emma Gannon and Jeremy Arndt’s stellar voices. Arndt was further featured alongside Liam Frost as gay dads, who perfectly brought the dance mom energy to spelling bees. Further standout characterisations were Maya Gribble’s nerdy child activist nerdy Logainne, Patrick Fullilove’s socially awkward and snotty William, as well as Madeline Gailee’s energetic and loveable Leaf. All actors should be applauded for their unique interpretations of these roles.
Costuming, led by Ilise Laidlaw, was a spot-on nod to the awkwardness of being a tween, with those embarrassing fashion choices we all went through. Special acknowledgement should be made to the hilarity of Logainne’s rainbow pride accoutrements and Leaf’s distinct cape and helmet, which enhanced their roles greatly. June Atkin’s makeup was nothing short of impressive in the way it aged Douglas Panch. A strange but entertaining inclusion was Mitch’s juice box tattoo, a nod to his character presenting the eliminated contestants with a commissary juice box.
From the moment the curtains lifted you truly felt as though you were in a high school auditorium ready to watch a spelling bee. Set designer Lizzie Cao definitely made use of Wright’s artistic talents, hand-painting numerous signs and banners to adorn the wings. Overall, while simple in some ways, this set was well-executed and a stand-out for this production.
One of the biggest issues we had with this production was the sound. Unfortunately for musicals with microphones, they are often unreliable and difficult to work with. Throughout the production, different cast members’ microphones periodically turned on and off, rendering some lines inaudible. Whilst significant efforts were made to improve this throughout, at times switching to hand-held microphones, this was especially unfortunate as at times cast member’s sound levels were unable to be heard over the backing track. In saying this, we are not entirely sure what the Polish Club’s sound capacity was to start with, and sound is often temperamental and may have improved for future performances.
Where sound sometimes had its faults, the lighting design of this show by Meg Mundy was well-timed and creative. Notably, the comedic spotlighting of an audience member in the seat reserved for Olive’s absent parent was precise and appropriately awkward for the moment. Creative rainbow lighting during ‘Pandemonium’ enhanced the hectic nature of the song, complimenting the choreography nicely. Overall, Mundy should be applauded for her well thought-through lighting design which kept the audience both engaged and entertained.
Whilst neither of us were sure what to expect with this production, we were both amazed by the talent of Wright Hall. From comedic interactions to heartwarming melodies and innovative set and lighting, this college should be extremely proud of what they achieved. Kudos to Barnes and all involved, and we hope Wright continues this legacy of strong college productions in the future.
Comments Off on Totally Tubular: The Comedy of Errors puts on a radical performance
The return of student theatre in semester two was headlined by ShakeSoc’s The Comedy of Errors with a radical 80s twist. For first-time director Jessica Luff, choosing one of the Bard’s shortest works and, indeed, a comedy proved an incredibly smart choice.
The Comedy of Errors centres on the mistaken identity of not only two twin brothers separated in a shipwreck but also identical enslaved twin brothers. Following a series of unfortunate misunderstandings, including not recognising your own wife, falling in love with her sister and being arrested for stealing a gold chain, chaos in the town ensues. In the end, the pairs finally reunite, uncovering the truth behind the shipwreck that tore the family apart.
With the closure of Kambri Theatre for the remainder of the year, ShakeSoc decided to stage their production at the Canberra Theatre Centre’s Courtyard Theatre. The intimate, sparse theatre allowed for vast creative liberty, featuring well-tiered seating and extensive sound and lighting rigging, aspects generally lacking in the Kambri theatre from our experience. However, we assume that the lack of a backstage would have been troublesome for the cast and crew — although Luff’s clever direction ensured no unnecessary crossing of the stage — so we wonder how this might play out for larger productions scheduled for the Courtyard.
The Comedy of Errors is a more accessible script, meaning that for audiences who are less well-versed in Shakespeare, minor gaps in understanding were bridged by a relatively straightforward plot coupled with Luff’s extraction of every potential physical comedy element. Re-contextualisation in the 80s proved a fun choice, with distinct nods to the decade throughout the play. However, the difficulty with the re-contextualisation of Shakespeare is the extent to which you alter the script to truly commit to the time period. Here, it felt like a slight gimmick to draw in audiences, and we would have loved to see further commitment beyond the music and costuming. Overall, you can see that Luff thought through every single scene in detail, which was particularly highlighted in the cafe date-style scene, which was both well-directed and comedic. All the characters were well-utilised with clear background directing when individuals did not have lines, whilst similarly not saturating the scene with unnecessary bodies on stage. There was a slight slump in the second act, possibly due to many original ideas used in the first half. However, Luff should be applauded as continuous laughter from the audience proved their enjoyment throughout.
As an ensemble, this cast appeared to genuinely enjoy being together on stage. Our biggest stand-out from this production came from the pairing of Oscar Mikic as Antipholus of Syracuse and Ava Ferrari as Dromio of Syracuse. Both remained intensely committed to the slapstick nature of the show, acting larger-than-life at every opportunity. This dynamic was further enhanced by the chemistry between the two, something lacking in their twin counterparts. Ferrari’s ability to change accents ranging from American to Spanish showed an impressive range, with a further comedic moment occurring with dance moves timed to the door-knocking sound cues.
Although rarely appearing together, Ferrari and Julia Wedgewood-Oppenheim were an unbelievably funny twin pairing. Each mirrored the mannerisms and energy of one another, making clear that despite not looking identical, they came across as convincing brothers. While many of the characters relied on physical slapstick comedy, refreshing characterisation came from the sisters Eloise Bisley and Ella Buckley played. Both portrayed the depth of their characters, reacting well to the chaos as it ensued.
The lighting design by Steph Evans remained consistent, with particular highlights occurring with colour changing to red where Satan was mentioned and outbursts of anger arose. However, whilst sufficient, potentially greater variety throughout — especially considering the extensive rigging of the theatre — would have enhanced the production and its 80s charm. Similarly, Tom Lyle’s sound design absolutely served a clear purpose. Well-timed knocking and cartoonish-boingy throwing effects added comedy, amplifying the already slapstick scenes. A crowd-pleasing aspect of this show came from the transition music featuring 80s bops, which had the audience singing along.
Whilst there were very few major set changes, the inclusion of the popular transition music allowed for slightly slower resets without much notice. Further, the team’s commitment to the 80s theme with their period outfits and similar enthusiasm for the music added to the genuine enjoyment and camaraderie of this production.
What most illustrated the time period was the costuming, with shoulder pads, an ET graphic t-shirt, and a fluoro pink skin-tight leotard, which were just some of the nods to the iconic decade. Through innovative colour-blocking, the pairings of twins were made clear, with other characters similarly assigned their own unique aesthetic that showcased their characters’ personalities.
Turning now to the set, when we walked into the theatre, we were immediately met with the familiar comic stylings of the classic 80s music video for Take-On-Me by A-ha. Three white sheets adorned with beautifully hand-drawn locations created by Rose Kenyon and Jeremia Kim covered each third of the stage. Whilst very well designed, the location choices for the differing areas could have better mirrored the settings of the play as it unfolded, with the possibility of a police station making more sense than a dollar store.
Further, props created by Sophie Chiew were another clear nod to the decade. Attention to detail didn’t go unnoticed; small items such as a teen magazine from the 80s and small beanie babies certainly reinforced Luff’s directorial vision.
Overall, this cast and crew should be applauded for putting on a show that screamed, ‘Don’t you forget about me.’ With one final show in ShakeSoc’s 2024 season, we look forward to their upcoming production of As You Like It.
Comments Off on A reminder to feed your dad: “Third Storey” debuts to packed audiences
Easily the bravest choice of NUTS’ 2024 season was their first ever full length student-written play, Third Storey, written and directed by Eli Narev and Adam Gottschalk (pictured above). We had little to no expectations walking into this show, and upon leaving could only describe it as “on crack, but in the best way.”
Third Storey follows prank influencers Jax and Gene, who have been awarded a grant to make a feature film. The play follows the chaos of their creative process as characters slowly stray from sanity in their attempts to adapt Franz Kafka’s Metamorphosis into a one-woman motion picture. Locked in a three storey house, the script explores complex systems of rules, family dynamics, the hunger for perfection, and an attic full of possum shit.
The original script was witty, deeply funny, heart warming and often unexpected. Narev and Gottschalk should be commended on the multi-faceted nature of the characters they created, building an ensemble of individuals easily recognisable to a modern audience. Many of the script’s most tender moments occurred between Annabelle Hansen’s Judie and Beth Fuccilli’s Bev, where the writing touched on some of the difficulties of parenting, questioning to what extent we are all impacted by the choices our parents make. A standout writing and directorial moment in the first act came from an attempt by director-character Jax (played by Adelaide Hayes) to shoot the one-woman scene sequentially one line at a time. As the characters scrambled to perform quick changes, the comedic direction of Elizabeth Barnes’ Alison counting down by ones each time she switched personas had the audience dissolving into laughter.
While the script was excellent overall, it could have potentially benefited from further editing. The production — especially the first act — felt overlong at times. This length can be attributed to attempts to give too many characters tragic backstories, which were at times rushed, and lengthy duologues that could have been shortened or cut.
Turning now to the cast, both of our stand-out performances came from Fuccilli and Mischa Rippon as Bev and Graham, the loveable, stereotypical Aussie parents. The moment they stepped on stage they brought a refreshing lightness that cut through the length of Act One, being comedic, touching, and most importantly giving a sense of humanity to the show. The pair’s talent was further highlighted in the dramatic twist at the conclusion of the show, where despite blood pooling from his mouth Rippon, with stoic determination, refused to break character, whilst Fuccilli continued to movingly comfort her husband.
Paralleling their parents’ dynamics, the sibling duo of Hayes’ Jax and Callum Doherty’s Gene highlighted the range of these actors. In particular, Doherty’s raw, haunted expression at the end of Act Two silenced the audience. Another actor of note was Thomas Neil in his portrayal as the dorky, golden retriever boyfriend Dom who arguably had one of the more significant character developments throughout, emphasising Neil’s versatility as an actor. However other characters, like Pip and the Producer, felt a little rushed and underdeveloped.
An unconventional inclusion for this production was an original garment from Bridget Matison who created a one-of-a-kind cockroach inspired showgirl costume. This bold choice highlighted the eccentricity of the film being created, enhancing Barnes’ dramatic interpretation of Kafka’s Gregor as a cockroach. Additionally, the evening wear used for the award show scenes provided contrast to the otherwise ordinary costumes used throughout the rest of the show. Overall, the costume design led by Lara Connolly was cohesive and enhanced the portrayal of each of the characters.
The set for this production was exceptional. Credit must be given to set designer Katja Curtin and assistant set designer Grace Fletcher who managed to transform Kambri drama theatre into a convincing family home. There were two major sets, the first being the exterior of the house, with well-executed painting of black flats making the set look three-dimensional. The second set displayed the interior of the home, utilising a raised stage to highlight two of the three storeys. The set was further enhanced by the cohesion of the actors’ entrances and exits, at times circling behind the stage to illustrate the journey of travelling to the second floor. Furnished with effective props, this set is certainly a stand-out from the sets we have seen in Kambri this year.
Unfortunately, during the blackouts where set and numerous prop changes occurred the backstage crew moved at what felt like a glacial pace, with a lack of transition music, forcing the audience to hone in on the movements of the crew. Where the script was already long, this elongated the show further.
The lighting design by Jessica Peacock was effective, using spotlights and blackouts where necessary for the script. Whilst at times slightly delayed — Kambri lighting is notoriously unreliable — more creative lighting may have enhanced the script. An inclusion we might suggest would be varying the lighting when the camera was rolling to dramatically differentiate. Further, Genevieve Cox’s sound design was apt for purpose and well-timed.
Neither of us were quite prepared for the dramatic twist at the denouement of this production. All we can say from that ending for those who did not get to see the show is…remember to feed your dad. Overall, the show proved an immense success and we are excited to see what is next for the witty writing duo of Narev and Gottschalk.
Comments Off on ShakeSoc’s TIBB: Bitchin’ Teens in Togas and Romeo as a Sparkling Vampire
For those who have never experienced Then I’ll Be Brief (TIBB), it is essentially ShakeSoc’s annual Year 10 camp-vibe theatre show. Full of comical skits from your favourite Shakespeare plays alongside some original modern renditions, this production serves to highlight the range of ShakeSoc as a theatre society. This year’s show consisted of six skits each with their own director, with some extra ‘TIBB bits’ in-between.
One of our favourite skits was the ‘Julius Caesar Toga Party’ directed by Georgia Motto. Recontextualised in American Greek life, Motto took Shakespeare’s work and enhanced its comedy by introducing caricatures of the kind of college students we all love to hate. Leading the scene were seasoned ShakeSoc Treasurer Liat Granot and newcomer Zara Sheldrick-Aboud, whose comedic timing enhanced the raunchy nature of Shakespeare’s work. Motto’s witty decision to incorporate the well-known Gretchen Wieners monologue from ‘Mean Girls’ had the audience agreeing “We should totally just stab Caesar!”
Another scene that we and the audience enjoyed was ‘Hammy’ directed by India Kazakoff. Inspired by one of Shakespeare’s most famous works Hamlet, Kazakoff amplified the ridiculousness of Shakespeare’s plot as Hamlet attempts to cover up the murder of his prospective father-in-law. All actors in this scene stood out, and perhaps credit should again be given to Kazakoff for bringing out the best in her troupe of performers. Whilst difficult to single out a standout from this performance, James Phillips and Féy Etherington as the iconic duo Rosencrantz and Guildenstern utilised their bro-energy to captivate the audience.
When entering the theatre that night, the last thing on either of our bingo cards for this show was a Shakespeare inspired Twilight scene, but that was exactly what Olivia Hobbs delivered. Conflating modern star-crossed lovers Edward and Bella with Romeo and Juliet, Hobbs took the audience on a journey through all five books in the Twilight Saga, utilising a mix of traditional lines from Romeo and Juliet and dialogue from the cult-classic movies. Complete with Zac Mccutcheon’s glittery chest and Georgia Mcculloch’s awkward Kristen Stewart mannerisms, the pair sped through the fever dream that was the Twilight-era. What made this scene stand-out was perhaps its distinct differentiation from the other recontextualizations by truly taking creative liberty with the Bard’s work.
An entertaining feature of TIBB is the ‘TIBB bits,’ snappy parodies more similar to the types of skits you would see in a revue. From the three included in this year’s show, the ‘Leo’s Monologue’ starring Sheldrick-Aboud, making fun of DiCaprio’s penchant for younger women, and ‘Directors Cut’ on the seemingly endless Shakespeare adaptations in popular culture proved humorous inclusions. However the third skit, the ‘Rappeth Battle’, fell on deaf ears.
Both adaptations of Much Ado About Nothing were entertaining, providing laughs, but not especially memorable. TIBB’s inclusion of a short musical comedy ‘it was so…’ was the weakest of the night. The cast appeared disinterested and awkward while singing live, making it difficult to understand. Unfortunately, when choreography was introduced it did not elevate the skit, rather highlighting the lack of enthusiasm. Directors and the artistic director walked on stage from the audience to join the dance, an interesting choice that could have been better supplemented with some of the under-utilised cast.
Now to the crew. TIBB isn’t a show known for its flashy set or costumes. Instead, the scene changes rely on a basic stage fit for multiple purposes. When some simple set pieces were brought on stage, the crew at times were fumbling and seemed under-rehearsed. Similarly, the costumes are often singular pieces over the top of stage-blacks that, whilst indicating different characters, rarely add significantly to the show. But kudos can be given in this department for the spot-on representations of Bella Swan’s 2010s layered fashion and Edward’s sparkling chest immediately identifiable as a reference to the film.
On opening night, prior to the commencement of the show, artistic director Charlotte Harris made an announcement that technical issues with the lights had occurred. Consequently, there was an inability to remove a green hue from the stage. Keeping this in mind, the lighting design was a little simplistic — potentially due to further difficulties — leaving us wondering whether the scenes might have been enhanced by more creative lighting.
Sound design by Tom Lyle was technically proficient. During the scenes, the occasional sound bite made up for the lack of set, creating the appropriate atmosphere. Music in between skits whilst the crew moved set pieces had us bopping along in our seats, making the gaps between scenes feel significantly shorter.
Overall, this year’s TIBB proved an entertaining 90 minutes. Despite the highs and lows, the audience left the theatre amused by the creativity of the six directors. Possibly concluding with a remix of ‘I’m Just Ken’ as ‘I’m Just Dead’ was a misjudgement by the creative team, as we would have preferred to be left with the crowd-favourite Twilight scene.
ShakeSoc have concluded their first semester of shows on a high note, and we expect to see the tradition of TIBB continue on to a fourth year in 2025.
Comments Off on The Chemistry of Theatre: The Effect is more than just a placebo
National University Theatre Society’s (NUTS) production of The Effect, silenced the audience both during and after the show with its breathtaking illustration of the human experience in heightened circumstances.
Lucy Prebble’s The Effect follows two protagonists entering a four-week clinical antidepressant drug trial. The pair grapple with the nature of the trial, wondering if their sudden desires are true love or merely a side-effect of the drug.
The decision by Director Paris Scharkie to open the NUTS season with this heart wrenching drama was an inspired choice. Staged as a theatre-in-the-round, the audience was truly immersed, experiencing the highs and lows alongside Connie and Tristan. The simplistic technical proficiency of the show left the audience with questions about the efficacy of drug trials and whether emotions can be manipulated by chemical compounds propagated by pharmaceutical companies.
With only four members of the cast, there was nowhere to hide — especially considering they were on stage the entire time. Fortunately, there was no need. Eli Powles’ fast-paced and sharp Tristan brought the lighter moments, making the contrast in his moments of crisis more poignant. Tash Lyall’s Connie drove the story, with the highs and lows of her character truly showing her incredible range. A testament to the creative team and the pair, their chemistry could not have been questioned by the audience.
Just as Lyall’s performance showed her range, so too did Amy Gottschalk’s Dr Lorna James. Her astute clinical professionalism contrasted with a deep psychological turmoil brought the character to life, with her Act Two monologue reinforcing Gottschalk’s versatility. Another monologue that demonstrated the talent of this cast was the Ted Talk-style monologue of Isaac Sewak’s Toby Sealey. The sudden shift in pace provided a shining moment for Sealey, who was otherwise under-utilised.
The highlight of the show for both of us came at the end of Act 1. Scharkie’s direction coupled with Kathleen Kershaw’s movement coaching narrated its own story of a couple in the early-stages of love. Individual freeze-frames mixed with effective lighting and the chemistry of Powles and Lyall illustrated through movement the small-moments in a developing relationship. Ending Act 1 with this masterpiece meant the intermission allowed audiences a chance to sit with the dopamine produced alongside the uncomfortable knowledge the play was about to intensify. The return of the freeze-frames in the medical episode was another piece of brilliant direction, portraying the chaos of what was occurring. Utilising this directorial style in a drastically different situation complemented the earlier scene.
Despite the simplicity of the set, the utilisation of innovative lighting and technology transformed the often-barren space of Kambri Theatre into an immersive clinical experience. Watching Marty Kelly and Charlotte Harris’ lighting design it was evident that unlike many other shows, this design had been well thought through, with a clear understanding of the script, a testament to the amount of work that must have gone into this part of the show. Not only were standard overhead lights utilised, but also LED lights surrounding the stage, multiple projectors, a glowing tablet and two light-boxes sitting on the stage. The sheer amount of coordination that was required and went off without a hitch on opening night was masterful.
The only improvement that could have been made to this show was the sound design. Reading the program and hearing there would be an original score sparked our interest. Unfortunately, we were left slightly disappointed and unsure where the original score was. What sound was utilised didn’t often lessen the atmosphere of the show, but paled in comparison to the proficiency of the rest of the production.
Similarly, the costuming was simplistic yet effective. It did not detract and fitted its purpose for this show, however was not of particular note. Regardless, costuming was not a crucial part of this play, allowing the audience to focus on the raw performances of the actors, however, played its role in ensuring the character’s ease of movement.
As a theatre-in-the-round show, the stage was raised in the centre reinforcing the immersive experience. Rather than a stand-alone set, the cast utilised white wooden cubes to create the scenes. The seamless transitions of the movement of the blocks by the cast was both well-directed and well-rehearsed. Whilst limited props, those used were instrumental, with a highlight being the jellified brain dripping with goo.
Another area of improvement was the hanging and centring of the projectors at either end. In comparison to the rest of the well-done set, it looked tacky and rushed. Nonetheless, the projectors added small touches – such as the counting down from intermission and dosage sizes – reinforcing how well thought through this play was.
Overall, this did not feel like a show that had been put on in seven weeks. The attention to detail and overall collaborative effort helmed by Scharkie made it seem as though she had been working on this show for years. We attended opening night, which was not packed, and hope more people had the opportunity to see this incredible show — we know we certainly raved about it to friends. If this is how NUTS is opening their 2024 season, we are very excited to see their upcoming shows.
Rating 4.8/5
Comments Off on ShakeSoc’s “Macbeth” Makes a Bloody Splash in Kambri
Before we start this review we want to preface by saying we are not professional critics, so please don’t try and track us down. We are merely loyal ANU theatre enthusiasts who go to more shows than are healthy. Because of this addiction we have decided to review all of the student shows put on this year — from NUTS, to ShakeSoc, to MTC and college productions. We can’t wait to highlight the amazing talents of all the people involved in these shows in the reviews.
Macbeth is arguably one of Shakespeare’s most famous works, centring on deceit, ambition, power with a fair share of blood and gore. Shakespeare Society’s (ShakeSoc) production of the Scottish play — although it appeared the cast were confused about geography with their accents — proved an exciting choice to a packed opening night crowd.
What this play certainly was not lacking was ambition. ShakeSoc’s decision to stage Macbeth without re-contextualisation in roughly a seven week period proved a brave choice for the society and first-time director Natasha Ludlow. The choice of Macbeth was a production guaranteed to fill seats due to its popularity…and the trauma of year nine English. However, as the first of the 2024 season, this production failed to make as much of a bloody splash as it may have hoped. Where credit should be attributed, is to the tenacity of the directorial and production team in organising this show so early in the year.
While with humorous intentions the stabbing reference made during the introduction about looking to your left and right wondering who may have a knife left the audience uncomfortable. The joke felt in poor taste before the production had even started.
Matthew Wooding as the titular lead (pictured above) provided a stand-out performance, not only furthering the plot but providing a nuanced portrayal of the complex and often fraught Macbeth. Where a stellar performance by Wooding captivated the audience, unfortunately for Lara her Lady Macbeth was outshined by her counterpart. Lady Macbeth is well-known as one of Shakespeare’s most difficult female roles, and with the added pressure of a seven-week rehearsal schedule, Lara’s portrayal at times felt one-dimensional. Ultimately the pair’s chemistry aided both their depictions, with the scenes focused on the couple providing a sense of intimacy to the violent background of the play.
A personal standout in the cast came from Ash Telford as Banquo, whose ghost at the end of Act One left the audience gasping. Despite blood drooling from the mouth, Telford remained in character, providing a chilling portrayal haunting Macbeth and the audience long after the scene had concluded. A surprising standout scene came in the Second Act. Marcelle Brosnan’s Lady MacDuff alongside Marlon Cayley as her son showcased a different side of Shakespeare’s work, with a touching vulnerability accompanied by a maternal passion that provided a much needed refreshment to the latter half.
A hallmark of Macbeth remains the trio of witches. The choice to double-cast this production, whilst not unusual for ShakeSoc, proved ill-advised, with the decision to double-cast Lady Macbeth with a lead witch serving to confuse rather than enchant. Suspension of disbelief can only go so far, and despite both of us having read, studied, and watched the play prior, we found ourselves having to check the script at the conclusion of Act One. Perhaps a costume change could have justified the directorial choice, as where a witch remained crowned and in an evening gown, the production failed to convey a change in character.
Despite costume changes needed to underpin character shifts, the costume team consisting of Archie Church, Isabel Moller, Alana Flesser and Georgia, provided a clean look to the large ensemble. Colour blocking different pairs and groups dependent on the character was a nice touch, showing the team’s attention to detail.
Technically, Ella Ragless’ sound design created an occasional atmospheric ambiance to slower scenes, with the cast’s voices easily projected across the small theatre. The simple yet effective lighting done by Charlotte Harris and assistant Elinor Hudson showed a contrast between battle scenes, dinner parties and emotional soliloquies, adding excitement to the lack-lustre black set.
Walking into the theatre, the only set on the stage was a few pieces of dirty cloth hung limply from the black curtains and unfortunately the stage design rarely became more advanced than that. Whilst a simple set can be effective, watching the cast walk between sides of the stage between scenes and the door to backstage occasionally visible to the audience was an unwanted distraction. The one attempt at a major set piece in the feast scene regrettably did not go to plan on opening night, with stage crew having issues with the tables.
Overall, despite Macbeth being one of Shakespeare’s shorter works, this production proved too lengthy. Potentially the inclusion of more action and gore in the latter half may have re-captivated audience attention. Ultimately, ShakeSoc’s production could have made a bigger and bloodier splash into the 2024 season with the overall disjointed and rapidly put together production falling short of our high expectations.
All in all, the play set the tone for a dramatic season for ShakeSoc. We look forward to their next show Then I’ll Be Brief in Week 10.
Rating: 2.5/5 stars
Comments Off on 2024 Book Releases to Watch Out For
The beginning of a new academic year calls for fresh distractions, and I come fully equipped to help you drain your wallets and your study time. Even better, you can tell yourself you’re wasting neither; reading is good for you, it makes you smart. You might as well be studying for your actual degree. Girl maths is calculating how many pretty hardcover novels you could buy with the money you saved by pirating your textbooks online (for legal purposes, this is a joke).
Full disclosure, this list does not offer very much in the way of nonfiction, aside from a few little numbers I especially liked the look of, which I’ve put in their own category. Sorry to the non-fiction buffs, but also not really.
General Fiction:
The Mother of All Things by Alexis Landau
(Releases May 7)
This one is for all my dark academia girlies. Think The Secret History but more human, and with a healthy dose of female rage.
Ava Zaretsky is a wife, mother, and art history professor. Following her husband to a film shoot in Bulgaria one summer, she is ‘swept up into a circle of women who reenact ancient Greco-Roman mystery rites of initiation, bringing her research to life and illuminating the story of a 5th-century-BC mother-daughter pair whose sense of female loyalty to each other and connection to the divine feminine guides Ava in her exploration of the eternal stages of womanhood.’
Read the full synopsis (and preorder, if you like) here.
See also:
Table for Two by Amor Towles (releases April 2)
From the bestselling author of A Gentleman in Moscow, The Lincoln Highway, and Rules of Civility comes a collection of six short stories set in turn-of-the-(twenty-first)-century New York City and a novella set in Hollywood’s Golden Age. Fans may recognise some characters from Rules of Civility.
What I Would Do to You by Georgia Harper (releases March 26)
A speculative fiction which places the reader in a near-future Australia, where the death penalty is legalised—but the family of the victim must carry it out themselves.
Fantasy/Science Fiction:
The Atlas Complex by Olivie Blake (The Atlas Six #3)
(Released January 9)
Is it the year for dark academia, or are publishers milking this trend a little bit? Here’s another one which will be a favourite with the dark academics among us.
That was cynical of me—when they don’t feel formulaic, tropey, and artificial (read: exclusively written to test their luck on BookTok), the dark academia branding can work well. This series seems to resonate with a very wide audience, so I’m sure we can expect good things.
The final instalment in the Atlas Six trilogy which more or less pioneered the BookTok cult of dark academia, The Atlas Complex is ‘a race to survive as the Society recruits are faced with the question of what they’re willing to betray for limitless power—and who will be destroyed along the way.’
More info here.
See also:
House of Flame and Shadow by Sarah J. Maas (released January 30)
I’m personally an SJM hater, but as that is a controversial opinion I’ll mention that House of Flame and Shadow came out last month. It’s the third instalment in the Crescent City series, and the Google animation was a jump-scare when I was researching for this article. As one of my friends said, Oh God, she got to the tech bros.
Faebound by Saara El-Arifi (released January 23)
Elves, fairies, high stakes and romance providing all the escapist vibes for your Semester 1.
Tales of the Celestial Kingdom by Sue Lynn Tan (released February 6)
An illustrated collection of short stories set in the world of fantasy romance duology Daughter of the Moon Goddess and Heart of the Sun Warrior, inspired by Chinese legend.
Historical Fiction:
All We Were Promised by Ashton Lattimore
(Releases April 4)
‘A housemaid with a dangerous family secret conspires with a wealthy young abolitionist to help an enslaved girl escape, in volatile pre-Civil War Philadelphia.’
Aside from a gorgeous cover, All We Were Promised proffers commentary on racial injustice, Western slavery, class divides, and female friendship. We follow three young Black women in 1937 Philadelphia fighting for freedom, inspired by the real-life Philadelphia Female Anti-Slavery Society and the Philadelphia abolitionist movements during the early 19th century.
I expect this one will be a brilliant debut from Ashton Lattimore, award-winning journalist and former lawyer.
More info here.
See also:
The Familiar by Leigh Bardugo (Releases April 9)
The author of Shadow and Bone, Six of Crows, and Ninth House delves into the world of adult historical fantasy, set in the Spanish Golden Age.
Literary Fiction:
Hagstone by Sinéad Gleeson
(Releases April 11)
Recent years have seen some brilliant literary voices coming out of Ireland—I’m thinking of Sally Rooney, John Boyne, Maggie O’Farrell, among others—so I have high hopes for Sinéad Gleeson’s debut Hagstone.
Drawing on myth and folklore, Hagstone places our protagonist Nell on an isolated island, ‘the source of inspiration for her art, rooted in landscape…and the feminine.’ The island is inhabited by a commune of women who travel from all over the world seeking its refuge. Described as ‘beautifully written, prescient and eerily haunting,’ I think this one will be gorgeous.
More info here.
See also:
Until August by Gabriel García Márquez (releases March 12)
This one is super exciting—a lost novel by the Nobel Prize-winning author of One Hundred Years of Solitude and Love in the Time of Cholera, to be published with the permission of his two sons. Sure to be an instant modern classic.
Anita de Monte Laughs Last by Xochitl Gonzalez (releases March 5)
‘A mesmerising novel about a first-generation Ivy League student who uncovers the genius work of a female artist decades after her suspicious death.’ (Macmillan)
Whale Fall by Elizabeth O’Connor (releases April 25)
Set on a remote Welsh island, this one is a study of ‘loss, isolation, folklore, and the joy and dissonance of finding oneself by exploring life outside one’s community.’ (Penguin Random House)
Nonfiction: A Novel by Julie Myerson (released January 2)
I want to read this based on the title alone. Nonfiction dissects the relationship between a mother and her child. We look at motherhood, addiction, and the act of writing.
Crime & Thriller:
Anna O by Matthew Blake
(Released January 31)
Predictably and unsurprisingly, I work at a little independent bookshop in Kingston, which is in part how I’ve devised this list. Since its release at the end of January, Anna O has been selling well. According to our customer base, at least, it probably isn’t quite the ‘instant global phenomenon’ HarperCollins eagerly declares it to be, but it’s definitely getting some solid attention.
Anna O is an ‘ingenious’ (The Times) psychological thriller interested in the human mind and its subconscious. Anna O, suspected of the murder of her two best friends, has been in a deep sleep for four years. Forensic psychologist Doctor Benedict Prince must find a way to wake her, and in the process any information about what happened the night of the murders.
‘As he begins Anna O’s treatment – studying his patient’s dreams, combing her memories, visiting the site where the horrors played out – he pulls on the thread of a much deeper, darker mystery. Awakening Anna O isn’t the end of the story, it’s just the beginning.’
More info here.
See also:
Butter by Asako Yuzuki (releases March 6)
I believe Butter has met with success overseas, and is being published for the first time in Australia. We’re getting so much fantastic Japanese literature, which I’m loving (Japan and Ireland absolutely killing the game). Inspired by a real case, Butter is ‘a vivid, unsettling exploration of misogyny, obsession, romance and the transgressive pleasures of food in Japan.’ (HarperCollins)
James by Percival Everett (releases March 19)
A ‘harrowing and fiercely funny’ (Penguin) retelling of The Adventures of Huckleberry Finn, from the perspective of the enslaved Jim.
Romance:
Funny Story by Emily Henry
(Releases April 23)
I think Emily Henry (author of Beach Read, Book Lovers, and You and Me on Vacation among other titles) could quite reasonably be called the mother of BookTok romance. Maybe I should confess that I haven’t actually read any of her novels yet, simply because romance isn’t a genre that I tend to gravitate towards, but her readership is so large and so devoted that it’s pretty clear Funny Story will be big this year.
There is absolutely something to be said for the importance of the romance genre, and the questionable foundations on which we often dismiss it as unimportant or holding less literary value. Romance as a genre is often written by women, typically for women, centring female characters. Lately I’ve been interested in the way we determine our hierarchies of artistic value, and the potential sociocultural issues underlying the way we perceive literature and its importance. Emily Henry herself did an interview with The Age last year which I thoroughly enjoyed—if you’d like to give it a read, here’s a link.
But I digress. Funny Story sets our heroine Daphne in a small town, ‘propositioning [her ex’s fiancé’s ex, Miles] to move in. As roommates of course. A temporary solution until she gets a new job literally anywhere else.’ The ‘awkward exes of exes-to-friends-to-lovers’ trope is a new one for sure, but I have no doubt all the romance lovers will eat it up.
More info here.
See also:
Fangirl Down by Tessa Bailey (released February 13)
The bestselling author of It Happened One Summer is jumping on the sports romance trend, but the love interest ‘was once golf’s hottest rising star’ (HarperCollins, italics added by me for emphasis). A romance novel where our protagonist is the hardcore fangirl of a ‘gorgeous, grumpy golfer’ sounds insane, and if I end up reading it you can be so sure of a review. (If not, someone else read it and tell me how it is.)
Token Non-Fiction:
Outspoken by Dr Sima Samar
(Releases March 6)
This list has been almost entirely composed of fiction (sorry, not sorry), and while there were several non-fiction titles I wanted to include, for the sake of keeping this readable and a not-absurd length we’ll stick with this super important memoir which I’m hoping to read when I can get my hands on it.
‘The impassioned memoir of Afghanistan’s Sima Samar: medical doctor, public official, founder of schools and hospitals, thorn in the side of the Taliban, nominee for the Nobel Peace Prize, and lifelong advocate for girls and women.’
Outspoken is relevant and necessary; it recounts how Simar ‘[became] a revolutionary,’ single-handedly providing medical aid to remote areas and fighting tirelessly for the rights of Afghan women, and ‘all the citizens of her country.’ Important reading for our 2024.
More info here.
See also:
The House of Hidden Meanings by RuPaul (releases March 6)
‘From international drag superstar and pop culture icon RuPaul, comes his most revealing and personal work to date—a brutally honest, surprisingly poignant, and deeply intimate memoir of growing up Black, poor, and queer in a broken home to discovering the power of performance, found family, and self-acceptance.’ (HarperCollins)
Who’s Afraid of Gender? by Judith Butler (releases March 19)
Who’s Afraid of Gender? studies the relationship between authoritarian movements and gender as a concept, and the fearmongering surrounding particularly non-binary and trans people promoted by certain ‘anti-gender ideology movements’. ‘From a global icon, a bold, essential account of how a fear of gender is fueling reactionary politics around the world.’ (Macmillan)
Rebel Rising by Rebel Wilson (releases April 3)
A memoir from Rebel Wilson is so certain to be thoroughly iconic. Recalling her rise to fame with all the insane anecdotes our little hearts could desire, you just know this one will go crazy.
That’s all I’ve got for you today, but I always have one eye on the upcoming releases throughout the year, so expect a part two somewhere in your (relatively) near future.
Until next time!
Comments Off on Review: How to Date Men When You Hate Men
Fair warning: if you’ve come here in search of some profound insight into the matters of the heart, I apologise. I’m just an 18-year-old girl with uncommendable dating experience, who is also severely prone to falling into a pit of crippling anxiety at the mere sight of a text from a guy (it takes me five hours and a solid brainstorming session with three other friends to respond to a simple “Hey” followed by a series of sleepless nights). So, for the sake of honesty, I’ll admit I don’t know shit.
Perhaps now you can also see how a ‘self-help’ book called How To Date Men When You Hate Men would entice someone like me. To be clear, neither I nor the author hate men, we just hate the troubles we’ve to endure to date them and the patriarchal bit of it all.
For a long time, it was a running joke in my friend group that this book held the key to fixing our love lives. Armed with foolproof strategies to sail through the treacherous waters of dating a guy, we’d be unstoppable! So here I was, embarking on this transcendental journey, flipping through the pages of the book like a madwoman and hoping to finally learn the art of dating men just in time for Valentine’s Day. No more being lonely and miserable, I had declared!
By the first chapter, bitter disappointment had settled in. I had fallen prey to clickbait. The book was (unfortunately) neither misandrist propaganda nor, as the author herself admits, a proper “how to” book.
It hypes you up in the beginning, and you, naïve little you, are convinced that you’re about to read something so earth-shatteringly revolutionary that you will single-handedly end patriarchy and the systemic sexism prevalent in our society. But you’ll soon realise this is just a patronising version of your girls’ group chat.
‘It’s not that there are “good men” versus “bad men” (though there are some obvious monsters): all men have received this coding. They aren’t born evil, they’re born into an evil system! It just didn’t sound as catchy to name the book How to Date Men When They Are Born into and Brainwashed by an Evil System That Mightily Oppresses Women.’
The author, Blythe Roberson, is an American comedian and humour writer, who has previously written for publications like The New Yorker and The Onion. As expected, you can sense the immaculate sarcasm and wit right off the bat. Unexpectedly, though, it quickly falls flat.
Throughout the book, Roberson makes various attempts to put modern dating problems in a comedic and engaging light. Sadly she misses the mark almost every single time. Roberson fills the book with quirky little displays of her hilarity, but because the book is so inconclusive everything she writes becomes almost irrelevant due to the lack of direction. The snarky comments that probably would’ve gotten her a good laugh in a different format soon turn annoying (looking at the 125, 689, 871 Trump jokes).
This humour severely lacks purpose. Roberson describes the book as ‘made up of so many opinions all clumped together that they just might have congealed into some sort of worldview’, taking a step further to boldly call it a ‘comedy philosophy book’. I like to call it the ‘Roberson’s Attempt at Turning Her Journal Therapy Journey Commercial’ book. It truly does seem like she was advised by her therapist to try to pen down her feelings, and she thought, well, why not turn this into a book and make some money out of it?
Her personal reflections and all the bottled-up frustration she harbours towards dating finally find the light of day in these pages. She talks so extensively about patriarchy and its impact on modern dating that you wonder if you really are about to read a social philosophy book, but she doesn’t explore this problem with any depth or nuance and you’re just left pondering. The book ends up being a collection of Roberson’s dating expeditions. So, while I yearn to learn more about the nitty gritties of Roberson’s ‘intersectional-socialist-matriarchal revolution’, I find myself learning the superficialities of Roberson’s date with some film student named Luke instead.
While the first half of the book might irk you, to give Roberson due credit, the second half does get better.
‘And so: you, right now, are a full tree. You don’t need to be in love to count as a human. Look—you already ARE a human, existing!’
Even though it’s cliché big sister advice and I know at this point we’re all tired of listening to the ‘you can only be loved if you love yourself first’ crap, it is undeniably true, and Roberson’s take on it is, dare I say, quite refreshing! She preaches against overthinking by emphasising that ultimately people will always do what their heart desires and so, if they are talking to you, it is because they want to! Probably nothing you haven’t heard before, but it’s the unwavering conviction with which Roberson almost commands the reader to stop over-analysing every little thing that almost has me convinced every guy is in love with me.
Okay, I don’t actually hate How To Date Men When You Hate Men. I know by now I might’ve convinced you otherwise, but genuinely, my only qualm with this book is that it shouldn’t have been a book. The way Roberson describes her dating mishaps and all the valuable lessons she’s gleaned from dating guys all these years make for solid entertainment. Not for a book. But, perhaps, as the set for her Netflix special. Oh, what wasted potential the book has. It’s relatable and charming, with seamlessly woven humour, while also targeting the idiosyncrasies of modern society. It could have been a 10/10 comedy show.
For me, the true measure of a book lies in the emotion it evokes. Often, over time, plots and character arcs get buried and decay with memory, but the emotions etched in the heart stand the test of time. The brain forgets, but the heart remembers. And while this book did have moments of Roberson’s glittering wit, it failed to leave an imprint. All I’d remember five years later would be the riveting title.
So, final remarks. Firstly, nobody really knows what love is. Some days it’s peeling an orange, while other days even taking a bullet might not be enough. All we know is that love is cataclysmic in the most beautiful ways and sadly, no book will ever have the answer to all your questions. You just have to wing it, as frightening as that might be.
Secondly, don’t read this book. You probably won’t read it til the end (unless you’ve thought it’d be cool to review it for Valentine’s). I recommend spending that time hating some other aspect of your life.
Lastly, if you do plan on spending Valentine’s alone, all sad and pathetic (like me), remember that it’s just a day. A Wednesday too, literally nothing special. The human experience will have us all being melancholic the rest of the year, even those cringy people in love (I’m just jealous). Go get yourself an ice cream and be a hater for a day.