Wesley Enoch and Deborah Mailman’s play The 7 Stages of Grieving is all about indigenous Australians and the hope for reconciliation. Although it was penned 20 years ago, the ideas in this production are still as relevant as ever. Chenoa Orb In Cheng Tsung-lung’s luminous Full Moon there is a profound sense of eternal motion, and not only because Cheng’s piece has thrilling eruptions of speed and swirls. There is vivid life even in moments of what appears to be stillness. In Rafael Bonachela’s Ocho, which follows Full Moon and is a wonderful companion to it, stillness is not a form of inner radiance. It is menacing and painful, a prelude to attack or perhaps an expression of neediness. Ocho is, if you will, the dark side of the moon.