Reviews

A co-production from Queensland Theatre + Sydney Theatre Company 2024

“Co-directors Priscilla Jackman and Dan Daw direct with great sensitivity and a strong attention to detail, bringing out the various shades of dark and lightness in the text…this is a thoughtful and beautifully delivered play that exudes much pathos and love for its characters. It also poses many questions about the value we place on life and the compassion that is shown to others. Such universal themes are the stuff of many literary works, but what makes Majok’s play special is the intimate and moving scenes she creates that so beautifully portray the dilemmas of her characters.”
Suzannah Conway
Arts Hub

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“Priscilla Jackman (RBG: Of Many, One) and Dan Daw (The Dan Daw Show) – who also features in the cast – treat the characters with a sense of dignity and nuance that is all-too- rarely afforded to people with physical differences….

The simplistic staging does not encumber dramatic impact; it even amplifies moments of beauty. One such moment is the bath scene – Ani and Eddie emerge from behind brick walls, with Ani positioned in an intricately painted claw-foot bathtub overflowing with glistening bubbles. Operatic music plays, and a single spotlight centres on the pair in a joyous moment of playful laughter. In this precious, even sensual moment, the two are able to let their guards down and get vulnerable as they discuss disabled bodies, intimacy, and care. It’s a stunning moment of theatre…

Jackman and Daw’s direction brings a nuanced understanding of disability, with people with lived experiences also contributing on and off the stage (each actor is also working with a dedicated assistant off-stage). Aside from simply being a damn good play, this production is a case study of how inclusive theatre *can* be done well amid ongoing discussions about disability rights and support systems.”
Chantel Le Cross
Time Out

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“This staging of Cost of Living is a landmark production for Australia as it is the first
mainstage production in the country to have a 50/50 ratio of disabled to nondisabled actors on
stage, with almost the same ratio represented behind the scenes… Good theatre helps us to
explore and understand perspectives we may not otherwise, and Cost of Living does this with
a gentle hand and a chorus of laughter. The specificity of Majok’s characters makes this story
universal and relatable for a wide range of audiences.”
Vaanie Krishnan
Limelight

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“Director Priscilla Jackman, whose recent past work includes such demanding plays as Still Point Turning and RBG: Of Many One, negotiates the complex demands not only of the minefield of a play in which disabilities figure large but also of co-directing with Dan Daw. That she achieves the necessary focus on humanity and the frailty of relationships, rather than simple human frailty, makes the 90+ minutes of Cost of Living rewarding, entertaining, and provoking.”
Diana Simmons
Stage Noise

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“Taut, clever, thought-provoking theatre….This production – jointly directed by Priscilla
Jackman and Dan Daw – is a coproduction with Queensland Theatre. Jackman and Daw’s
direction has resulted in a highly economic production, one that enables the script’s quality
and the actors’ excellence to do the heavy lifting.There are two scenes, both of which involve
bathing, that are breathtakingly intimate in their execution and meaning.The success of these
scenes is a testament to the directors’ confidence in their cast’s capacities, as well as their
faith in the audience’s maturity.”
Clare Monagle
Australian Book Review

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“Martyna Majok’s 2018 Pulitzer Prize winning play Cost of Living had the opening-night audience at Billie Brown Theatre in fits of laughter from the get-go. It wasn’t long however before this play about the many ways in which people physically and emotionally need people was also breaking our hearts…

Co-Directors Priscilla Jackman and Dan Daw brought us an entertaining, thoughtful, and compassionate rendition of the play. The poignant moments cut deeply, and the laugh out loud moments were the regularly applied salves that the audience needed to bear the pain.”
Kitty Goodall
Stage Whispers

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“It’s not often that audiences get to see a play that is both heart rendering and thoughtful, thought-provoking, and yet does its best to smash boundaries….As the audience left their standing ovation on opening night, it was clear that so many people left feeling as one, that Cost of Living was a must see. Please don’t miss this spectacular play, you’ll thank us later.”
Eric Scott
Absolute Theatre

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“ As Queensland Theatre’s executive director points out “Dan’s lived experience brings an unparalleled authenticity alongside Priscilla’s empathetic and insightful direction, both working together to reveal a production that is powerful, deeply felt and full of heart.”
Phil Brown
In Review

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“Co-directors Dan Daw and Priscilla Jackman made the conscious choice to keep the play set in the US given the distinct Jersey speech rhythms in the dialogue. In turn, the move also served as a warning to Australian audiences about what happens to society when we don’t have Medicare, only relying on private health cover.

Cost of Living is the first main stage Australian production to have a 50/50 representation of disabled/non-disabled actors and almost the same representation among the creative team…Queensland Theatre and Sydney Theatre Company have created a beautiful work that will stir emotions and challenge audiences to think differently about the disabled lived experience, and in the process, remind us that all humans need each other to survive.”
Sarah Skubala
Theatre Travels

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“Told with deft humour and enormous heart, Sydney Theatre Company and Queensland Theatre presents the Australian Premiere of the Pulitzer Prize-winning, Tony-nominated Broadway smash-hit, Cost of Living by Martyna Majok… Priscilla Jackman (RBG: Of Many, One) and internationally acclaimed multidisciplinary artist Dan Daw (The Dan Daw Show) direct this Australian premiere production of one of the best pieces of new writing to emerge from the US in the last decade.”
Rohan Shearn
Australian Arts Review

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“Co-Direction by Dan Daw and Priscilla Jackman resulted in well-paced, albeit verbally
theatrical, scene work. Moments of stillness and calm were rare but deeply effective when
they occurred…A play of realism and authenticity, ‘Cost of Living’ includes moments of full
frontal nudity and intimate bathing. These explicit yet venerable inclusions highlight the
vulnerability of individuals living with disabilities.”
Trent Sellars
Theatre Haus

Written by Suzie Miller
Directed by Priscilla Jackman
World Premiere season
Sydney Theatre Company, 2022

“Heather Mitchell as RBG is one of the all-time great performances… By the end, not only has our admiration for RGB soared but Mitchell, Miller, Jackman, designer David Fleischer, lighting designer Alexander Berlage and composer/sound designer Paul Charlier have all excelled in helping make her wisdom engrave itself on our souls.”
John Shand
Sydney Morning Herald

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“The play is an absorbing delight from its opening moments. This is due not only to the actor, but also to the subtle skills of director Priscilla Jackman– she wrote and steered Still Point Turning – and, it must be said, to the playwright. If Mitchell is the visible structure, Jackman is the master builder and Miller the foundation – without whom nothing could happen…possibly, a lifetime performance from Heather Mitchell …RBG: Of Many, One should be seen by every young woman – and men and women of all ages who may need reminding or telling of Ruth Bader Ginsburg’s impact.”
Diana Simonds
Stage Noise

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“Heather Mitchell pulls off an iconic one-woman show that utilises her impressive physicality, and almost-contortionist ability to embody Ginsburg from youth until the very end, traversing all the presidential regimes she endured. Priscilla Jackman’s direction is crisp and minimalist, showcasing Mitchell’s superb performance.”
Anna Westbrook
Arts Hub

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“Under Priscilla Jackman’s direction, the depth and breadth of the diminutive lady that was unwilling to sit back and accept the inequalities of the world, particularly with regards to gender and women’s rights, are bought to life with wonderful passion and humour…Priscilla Jackman ensures that the work remains dynamic with Mitchell fully utilising the stage and connecting with the entire audience…This work is a must-see performance and hopefully will tour, not just Australia but global stages.”
Jade Kops
Broadway World

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Deborah Jones
Limelight

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“Mitchell delivers a tour de force in Miller’s masterful new play… Her quicksilver shifts are finely supported by the clarity and focus of Alexander Berlage’s lighting and Paul Charlier’s beautiful sound.   Priscilla Jackson artfully directs clockwork changes of props and scenes, against David Fleischer’s sparse but enveloping design.”
Martin Portus
Stage Whispers

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Natalie Salvo
The Australian

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“ In a nutshell, one of the best pieces of theatre I have ever seen in Sydney. Or anywhere. An extraordinary woman, Ruth Bader Ginsberg, extraordinarily well portrayed in a ninety-minute tour de force by actor Heather Mitchell, and written by the extraordinarily talented Suzie Miller (Prima Facie, and much more). And let’s not forget the exemplary direction by Priscilla Jackman… Mitchell’s performance is superb. Everyone should see this play. At least once.”
Carrie Kablean
Megaphone Oz

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“RBG: Of Many One is a beautifully crafted virtuosically performed play about Ruth Bader Ginsburg.”
Mischa Ketchell
The Conversation

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“ Mitchell’s performance in this production is a master-class in theatrical story-telling. But as memorable as her performance is, it also burnished by the contributions of those creatives who framed her particular genius with their own unique skills. In particular, playwright, Suzie Miller, who conceived and wrote the words Mitchell delivers with such memorable skill, and director, Priscilla Jackman whose subtle, inventive direction illuminates both the play and Mitchell’s performance…

If you didn’t know much about Ruth Bader Ginsburg before you saw this production, you’ll certainly come away informed about this remarkable woman. Better still, you’ll come away dazzled and moved by having witnessed a truly remarkable acting performance…Wherever you get the opportunity to see this remarkable production, be sure to take it. It really is something to cherish.”
Bill Stephens
Australian Arts Review

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“RBG: Of Many, One is distinguished by a virtuoso performance from Heather Mitchell, in which she metamorphosises into Ruth Bader Ginsburg. In fact, it is unquestionably one of the greatest solo theatrical offerings this country has had the good fortune to witness…. RBG: Of Many, One is the complete package – triumphant, dramatic, at times comedic and totally enthralling, directed with aplomb by Priscilla Jackman. Do Not Miss It!.”
Alex First
The Blurb

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“Heather Mitchell is known for Binge’s Love Me and Sydney Theatre Company’s Still Point Turning: The Catherine McGregor Story. Here, under impeccable direction from Priscila Jackman, she excels with a character study so spot on that it feels completely effortless.”
Ash Hastings
Time Out

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“Fully inhabiting such a well-known figure is no mean feat, and Heather Mitchell pulls off one of those rare acts of impersonation that channels the spirit, rather than simply the likeness, of its subject…Trump’s presidency ushered in a new era of precarity for women’s rights in the US… particularly with Roe v Wade – and lend urgency to this compelling portrayal of a courageous and principled champion of gender equality.”
Cameron Woodhead
The Age

Written by Melanie Tait
Directed by Priscilla Jackman
Queensland Theatre, 2023

“Directed by Brisbane-born Priscilla Jackman…this production at Queensland Theatre, leaves the male characters off stage and shows how the patriarchy can be upheld, ironically, by feminine infighting.”
Nick Dent
Brisbane Times and Sydney Morning Herald

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“Melanie Tait’s uplifting play about a big win in a small town has opened at Queensland Theatre, directed by Priscilla Jackman. The Appleton Ladies’ Potato Race beautifully captures a slice of small-town community spirit, with tongue-in-cheek humour and plenty of heart, as it explores the way in which incremental shifts lay the foundation for lasting and meaningful change.”
Elise Lawrence
Limelight

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“Priscilla Jackman directs a quintessential Australian story, with community at its heart. Clearly a crowd favourite, it received a standing ovation on opening night.”
Lisette Drew
Arts Hub

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“The Appleton Ladies’ Potato Race told the story of women, for all women with a grace and ease that just felt right. It is an important story, a story that must be seen as far and as wide as possible, by everyone. The messages of the story, the characters, and audience all met with an explosion of love. Look no further than Queensland Theatre for this season of the Appleton Ladies’ Potato Race.”
Nahima Abraham
Absolute Theatre

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“Directed expertly by Priscilla Jackman, the play’s set design by Michael Scott-Mitchell is very minimalist, with the centrepiece being a rusty Holden FJ ute. A rotating section surrounding it adds movement, with this basic set surprisingly efficient in evoking the different locations with the addition of a few props.”
Vicki Englund
The Blurb – Australian Arts & Entertainment Reviews

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“Tait’s charming story about friendship, equality and the complexities of rural life is well written, beautifully crafted and very funny. And under Priscilla Jackman’s sharp direction, this is a taut telling, especially in its conclusion…with such humour and heart and its centre, this winning new Australian comedy is the perfect, uplifting antidote to our times.”
Meredith Walker
Blue Curtains Brisbane

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“What shines through The Appleton Ladies’ Potato Race is its efficiency. The writing is punchy, and Priscilla Jackman’s affectionate direction keeps the pace…The Appleton Ladies’ Potato Race achieves what its creators intend – it reveals people we can relate to, and root for, in a town that feels familiar. And on the eve of a historic and contested referendum, there are other parallels about the pursuit of change, and the courage and faith required to get it over the line.”
Cameron Pegg
InReview

Based on the novel by Felicity Castagna
Adapted and directed by Priscilla Jackman
National Theatre of Parramatta, 2023

“Priscilla Jackman has stayed true to Felicity Castagna’s characters and the Parramatta that she writes about so clearly and lovingly.  Rosa and Asheeka show how places like Parramatta are full of thousands of “complicated and contradictory stories” that are rich and exhilarating. Jackman’s and her creative cast and crew show how theatre can bring those complications and contradictions to the stage in a pulsating and contemporary Australian work.”
Carol Wimmer
Stage Whispers

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“For too long, stories of rebellious youth have tended to focus on boys in popular media. The troubled teenager, always misunderstood by parents and police, provides plenty of dramatic material for a good story. In Girls In Boys’ Cars, a female version of angst during those all too important adolescent years gets a thorough airing. From the novel by Felicity Castagna, Director Priscilla Jackman has adapted it for the stage. She has created an edgy tale of two girls trying to fit in to the teenage, male-dominated world of after-school Parramatta.”
Paul Kiely
Absolute Theatre and The Blurb

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“What do you get when you mix two best friends, shitty boyfriends, and an electric blue Ford Falcon? According to Girls in Boys’ Cars, a road trip of a lifetime. Adapted for the stage from Felicity Castagna’s novel of the same name, Priscilla Jackman’s Girls in Boys’ Cars follows the lives of best friends Rosa (Ziggy Resnick) and Asheeka (Nikita Waldron) as they wade through the trials and tribulations of teenage-hood, family, friendship, and love. There’s both space and kindness afforded in Jackman’s adaptation to convey, and listen to, the messiness and turmoil and contradiction that marks the trajectory of being a teenage girl.”
Honi Soitt
Reviews

Directed by Priscilla Jackman
Composed by Gioachino Rossini
Italian libretto by Cesare Sterbini

Opera Australia National Tour 2022

“If Wes Anderson were ever to direct an opera, it would probably look a lot like this one. In director Priscilla Jackman’s version…this staging is a crowd-pleasing story dressed up in a thoughtful and fun new way.” 
Elizabeth Flux
The Age

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“This is an excellent production in all respects… Director Priscilla Jackman has set the story in an Australian town actually called Seville, in the Victorian Yarra Valley wine region where she has successfully combined a contemporary Australian world of headline-making pop stars with the playfulness and showmanship demanded of Rossini’s music. The result is joyous.”
Ian McLean
Canberra City News

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“Priscilla Jackman’s scintillating production of The Barber of the Seville has been touring Australia since July 2022…and it’s not only the audience which benefits, but also the singers who appear to revel in the opportunity to participate in Jackman’s delightfully wacky shenanigans…”
Bill Stephens
Australian Arts Review
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“The director, Priscilla Jackman, keeps the fun moving at a fast pace.  Every moment and set change has been tightly choreographed, making it a pleasure to watch as well as listen to… At the opening night performance every character was beautifully played by this well-directed ensemble and their singing was excellent…This production of ‘The Barber of Seville’ was a delight from start to finish.  It’s hilariously wacky, beautifully sung and acted and a sumptuous feast for the eyes as well.”
Len Power
Canberra Critics Circle

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“Award-winning Director Priscilla Jackman brings a hipster aesthetic to the famous Figaro, complete with a pop-up barber shop on wheels and has given leading lady Rosina more than just a pretty face…The reimagined ‘hipster’ Barber of Seville is a riotous romp of spontaneity, spark, and playfulness that’s wonderfully chaotic and full of comedic energy from beginning to end. It’s frothy intoxicating humour cannot be missed. This is opera at its light-hearted, effervescent best.”
Antoinette Milienos
The Plus Ones

“Director Priscilla Jackman embeds ensemble scenes with a thrumming rhythm and a brisk tempo to let the words fall into place with zinging vitality. Though there are many intricate layers, Jackman knits the play’s ideas into a cohesive whole, making it digestible and thought-provoking without sacrificing any of its tough messages.

Most brilliantly, the writing doesn’t so much spoon feed as it does offer an opportunity to divulge in complicated concepts on a global scale, such as the nuances between diaspora and homeland Asians, and the traumas attached to belonging in liminal spaces. King’s assured approach to her female characters – equally magnetic as they are spiky – reflects exactly what makes her play so riveting: the unapologetic display of blemishes and imperfections.”
Debbie Zhou
Timeout

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“Priscilla Jackman has assembled a spot-on cast – all of whom do a fabulous job of nailing their character – and directs the play with a zinging assurance and an appropriately light touch”
Jo Liston
Limelight Magazine

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“Jackman directs with scrupulous attention to detail and with panache in her casting and her dynamic choreography of bodies…
You know that feeling when you’re standing on a cliff, and are drawn inexorably a little closer to the edge, and then a little more, and then … This play is like that. It’s all edge, no safety-net. Daring and a touch dangerous, its sense of breakneck velocity and unpredictability are fully realised in this vigorous Australian premiere.”
John Shand
Sydney Morning Herald

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“The writing is thrilling, all sharp crackles and highly-controlled recklessness. She barrels through scenes with velocity and wit, and you could be left breathless or left behind. Best to lean forward and dive in – and with director Priscilla Jackman at the reigns, a steadying hand and muscular force coaxing full-bodied performers out of her actors – it’s a hell of a ride.
The play has an internal and magnetic momentum that presses you ever forward. It’s near impossible to resist.”
Cassie Tongue
Audrey Journal

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“Priscilla Jackman’s direction puts all the elements together in a controlled explosion as hilarious as it is whip-smart.
In a seamless intertwining of big-picture issues and personal anxieties, King covers huge ground. Racism, political correctness, corporate responsibility, business ethics, women’s insecurities and the power of social media are just the beginning.”
Deborah Jones
The Australian

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“Priscilla Jackman does great work directing this propulsive character drama, maintaining its tension and humour in a delicate balance. Moreover, she has an embarrassment of riches with this exceptional cast. It is a true joy to see such an ensemble at work, with terrific representation and such impressive dramatic chops on display.”
Jack Teiwes
Australian Stage

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“Director Priscilla Jackman keeps dramatic intensity at fever pitch for the entire duration, establishing an unrelenting awareness in our consciousness reminding us that the stakes are very high indeed, not only in the fiction that we encounter, but also the real life implications of this timely tale about our social responsibilities as groups and individuals.
The play’s unravelling of corporate culture, engenders a caustic sense of humour that keeps us on edge, for a wildly funny theatrical ride that never releases us from its moral interrogations.
It is a sensational piece of writing, thoroughly researched and passionately rendered. White Pearl throws us into a cauldron of frenzied chaos, but each line of dialogue is crafted with immense precision, for an insightful examination not only of capitalism and racism, but also of the classism and sexism that govern so much of how these characters operate.”
Suzy Wrong
Suzy Goes See

Interpretation of Bartok is Simply Chilling

“Such a psychological approach implies a range of possible meanings, few of them untroubling from the point of view of gender equality. This striking production by director Andy Morton and associate director Priscilla Jackman is having none of that….

In avoiding lavishness, this production says more through plainness, dramatic power and imaginative musicality, and is a rare chance to hear a 20th century masterpiece.”

Peter McCallam
Sydney Morning Herald

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A Power-packed psychological opera squeezed into just 60minutes, and manages to strike a contemporary #MeToo chord and questions of gender-based agency

“Rather than shy from that disconnection from reality that opera offers, Directors Andy Morton and Priscilla Jackman – directing together for the first time – have staged Bluebeard’s Castle contemporaneously, and purposefully stark. There are no foiling illusions here.

Where this opera really finds its own definition, is in its stark staging…It is low cost and high impact and in some ways instructive that opera need not be limited by spectacular ‘over-staging’ that comes with equally spectacular budgets. … but this combination of lightening and movement – and with not a door in sight – is incredibly transportive and in-sync with the tone of Bartok’s libretto”

Gina Fairley
Performing Arts Hub

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Béla Bartók’s only opera, first performed in 1918, sounds glorious and is astutely staged for 21st-century audiences.

“Andy Morton and Priscilla Jackman’s production for Opera Australia makes two important decisions that are evident immediately. The first is to include the spoken prologue, sometimes omitted, and the second is to have those words spoken by a woman, when they are usually delivered by a male voice…

Director Morton and Associate Director Jackman’s…staging, clearly comes from rigorous, persuasive thinking about the piece.

The sparseness of the setting suits the uncompromising approach to the work. It also puts Bartók’s extraordinarily sensual, dramatically vivid score to the fore. (There’s a reason why Bluebeard’s Castle is frequently performed in concert.) The opera lasts barely 60 minutes, which is probably just as well given the intensity of the experience. It is breath-holding, edge-of-the-seat stuff.”

Deborah Jones
Limelight

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A triumph in miniature: Bluebeard’s Castle at Opera Australia

“Given a year in which Opera Australia is playing ultra-safe … a new local production of Bluebeard might be seen as heroic. Sadly, this triumph gets only four performances… And so many debuts… the two singers played their 21st-century roles to near-perfection

and directors Andy Morton and Priscilla Jackman have never led main-stage opera productions in the Sydney Opera House before.

Jeremy Eccles
Bachtrack

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Psychological thriller, opera style

“Director Andy Morton and Associate Director Priscilla Jackman made the brilliant artistic decision to keep everything in this production pared back except Béla Bartók’s genius score, making the total effect intense, intimate and profoundly impactful.”

Alicia Tripp
The Plus Ones

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Bartók’s opera as a #MeToo thriller

Opera Australia, on March 1, unveiled its short Sydney season of Bluebeard’s Castle, as a #MeToo-era thriller. As associate director Priscilla Jackman explained to me in an interview, as our latest Parliament House scandals broke: ‘No opera could be more important at this moment.’ Jackman and the director, Andy Morton, have sought to put aside the misogynist ‘museum piece’ of 1918, and to reframe the story to confront 2021’s difficult subjects: sexual violence, consent, coercion, and victimhood. Indeed, they wanted to bring the violence they heard in Bartók’s music directly on to the stage.

The opera’s final scene pushes way beyond the enigmatic ending conceived in 1918…in a powerful new vision, all four wives leave the stifling castle, walking silhouetted towards the bright light of hope.

The surge and repose of the ‘mystery play of the mind’ intended by the librettist Balázs has, in Morton’s and Jackman’s hands, become a thriller of escalating power right to the end. The very vividness of Bartók’s music, originally focused upon Bluebeard’s loneliness, effectively underscores this alternative on-stage ending. And the masked audience’s reception of this première? Applause all round, but we older men looked worried.

Malcolm Gillies
Australian Book Review

“Priscilla Jackman directs with energy a strong all-woman cast. Millerchip brings naivety to her central role as Penny. McMahon is a cracker as the feisty, athletic, potty-mouthed Nikki. Bader’s knowing pauses and comic timing as she sheds the chip on her shoulder are a joy.”
Joyce Morgan
Sydney Morning Herald

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“Director Priscilla Jackman provides ample room for play in her production; during her scene transitions characters dance props into place and share small moments together. These are little capsules of joy, and it’s near-impossible to resist being charmed. She infuses the story with additional, but judicious affection: every character is likeable, even grumpy Bev, and she treats the play’s more serious concerns, like xenophobia and discrimination, with pragmatism”
Cassie Tongue
TimeOut

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“Under the skilled direction of Priscilla Jackman, the originality of these Aussie women is grounded and exciting to watch and enjoyable in their recognisability. Jackman’s pinpoint use of pause is an immeasurable asset to the charming embrace of the production”
Judith Greenaway
Arts Hub

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“With unfussy direction (Priscilla Jackman) and spare design (the set is by Michael Scott-Mitchell), it’s a total crowd-pleaser, a colloquial Aussie play without a moment of cringe…And Jackman, building an impressive body of work on Sydney stages, who skillfully modulates the broad humour and country clichés.”
Jason Whittaker
Daily Review

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“The picture of Appleton painted by Tait and deftly directed by Priscilla Jackman in 90 taut minutes is a colourful and detailed one…”
“The Appleton Ladies Potato Race is a gentle comedy with a sting in its tail. The cast is flawless and funny, Michael Scott-Mitchell’s set of the back of a rusty ute that doubles as bleachers and potato storage is simple and gives them plenty of room to shine. In the end, when the chips are down (sorry, couldn’t resist one potato pun) the ladies come through and humanity wins the day. Would that it were so.”
Diana Simmonds
Stage Noise

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“The maturity of the drama is in its measure, with Priscilla Jackman’s direction complementing Tait’s writing…The Appleton Ladies’ Potato Race is a must-see. There are no downsides to this polished, measured, and punchy work that says so much with such style.”
Sean Maroney
The Music

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“Director Priscilla Jackman shows great confidence in her cast and has a marvellous appreciation of what is comical and treasurable in this very funny, and ultimately very moving, new play”
Frank Hatherley
Stage Whispers

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“Through the lens of five female characters living in rural Australia we look in on ourselves as a nation. It’s a funny play with a huge heart that is not afraid to pack a punch. It is about rejection and acceptance; seeing the world as it really is and at the same time, daring to ask if it can be something more.”
Arts Review

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“Director Priscilla Jackman imbues the show with extraordinary warmth… featuring five actors in a cohesive and joyful collaboration.”
Suzy Wrong
Suzy Goes See

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“Priscilla Jackman directs a bare-bones staging (a Michael Scott-Mitchell design) whose main feature is the arse end of an old ute. Her casting is flawless. Millerchip’s Penny is a winning mix of pep and calculation. McMahon conjures Nikki from equal parts vivaciousness and spite.”
Jason Blake
Audrey Journal