The Weekend Australian - Review - - Out & About - Deb­o­rah Jones

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.

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