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18/50 Botanic Road, Mosman NSW 2008 Australia

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CHRYSALIS REVIEW SYDNEY ARTS GUIDE

November 18, 2017

Type in ‘inspirational’. Right click. Pull down synonyms. Stimulating, Stirring, Rousing, Moving. Well… that’s bullshit. These artists exhibit no desire for that kind of spurious platitudinous response. These are performers whose work has an urgency to be respected for their message, the artistry of their thematic expression and the craft with which it is created...

Full review:

https://www.sydneyartsguide.com.au/chrysalis/

 

 

CHRYSALIS FEATURED IN THE MANLY DAILY

November 14, 2017

Mary Mockler says the enthusiasm she has seen in her son since he started working in a drama company is remarkable.

Her son Robert Mockler, 34, of Balgowlah Heights, has cerebral palsy and was formerly a member of Can You See Me Theatre Company, affiliated with Allambie’s Cerebral Palsy Alliance. Its productions were staged annually at the Sydney Opera House.

This year the company decided to go it alone as Midnight Feast — Theatre That Unites and on Thursday and Friday will be staging its first piece of narrative theatre.

Full review:

https://www.dailytelegraph.com.au/newslocal/manly-daily/

CHRYSALIS: KEVIN JACKSON'S THEATRE DIARY

November 26, 2017

CHRYSALIS is a work devised from the stories and world of a group of actors with disabilities. The Company, Midnight Feast, was inspired by Glenn Turnbull, a profoundly physically disabled man, and his interest in why 'people routinely ignore him' and by 'a social media video posted by Glenn's sister Hayley expressing her heartbreak and frustration after a doctor questioned the sense in undertaking a medical procedure, which Glenn needed desperately, citing his current 'quality of life'...

Full review: 

http://www.kjtheatrediary.com/2017/11/chrysalis.html

 

FEATURED IN NORTH SHORE TIMES

Review of All the World's a Stage at the Concourse Theatre, Chatswood.

NIGHTBOOK:
KEVIN JACKSON'S THEATRE DIARY

September 12, 2013

Using movement and voice: prose and poem, song and music, and choreography/dance, marvellously, in wheel chairs, the work was a coherent joy to watch. This work is all the more striking as it is an expression of the artists and has been shaped by Ms Koltai and Harris without any external artistic imposition of political impulses, or otherwise, of the facilitators. One is, relatively, watching the creative ideas of the cerebral palsy artists been facilitated without any vagaries of the able bodied artists needing to make a statement - they have 'submitted' to be the servants to the dreamscapes of these incredible Can You See me? Theatre artists...

Full review:

http://www.kjtheatrediary.com/2013/09/nightbook.html

 

FEATURED IN THE MOSMAN DAILY

Review of Water Angel at the Sydney Opera House, November 2016.

TASTY TUESDAY TREATS

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