Although a Succubus is usually portrayed as a belligerent demon, Ethel only self-actualises her powers when she seeks to avenge a lost friend, it is always thrilling to watch an interrogation, especially when the tormentor has supernatural powers and flexes voodoo control over her captive. This was cleverly adapted to stage through compelling acting at Nathan Farrow’s direction. Sam Nixen’s Succubus was, surprisingly, a skinny and unpopular Ethel whose powers had a direct correlation with her self-confidence. Interestingly, unlike traditional myths, Ethel was motivated not by evil but by her love of a human friend, which reflects a modern, pluralistic understanding of good and evil. Although the script was at times overwritten, it was passionate, authentic and sustained its intrigue.

In contrast, the Werefox tale is much more light-hearted, as an attached girlfriend discovers her boyfriend is a Werefox and handcuffs him to the bed right before he changes. While this play had humorous elements, the acting combined with a mildly cliché script produced an entertaining performance that avoided digging into deeper themes and was more akin to a skit than a short play.

The Selkie delved into fascinating themes about ownership and slavery, which erred on modern understandings of abuse. This play is about women who find themselves giving their hearts away to love too easily without realising its ramifications until its too late. The acting is commendable and the script explored the notion of misplacing and forgetting our identities when we lose ourselves in relationships.

The story of Naga, a hindu and buddhist deity, investigates the growing sidelining attitudes towards religion as the Naga is portrayed as an agoraphobic cripple dependent on government payments. A social workers interviews Naga to help him regain a sense of belonging, but alas Naga does not fit into the boxes that need to be ticked.

The series concluded with a heavier and darker play about a modern Siren, exploring free will and idealistic ambitions, as the Siren pursues a record deal and manipulates her brother into becoming a better person.

Overall, each play examined notions of belonging and the zeitgeist of mythology in a contemporary world. Without an overarching vision, each play scratched the surface of a variety of themes without a clear intention. The audience’s engagement was sustained primarily through the novelty of modern mythology rather than the essence of each character’s story. Nevertheless, Sam Nixen’s line writing and creativity is impressive, fluid and compelling.

Reviewed by Anne Lau

Rajiv Joseph tells the bittersweet tale of childhood best friends Doug and Kayleen who share their deepest physical and emotional scars over 30 years. The non-chronological two-hander vignettes highlight the most significant highs and lows of youth, friendship and the loss felt at the absence of a dear companion; a moving script with moments of hilarity and sorrow, realized in a short, poignant production.

Aaron Glenane (Doug) and Megan McGlinchey (Kayleen) illuminate the complexities of their roles as children, teenagers and adults. Their synchronicity is convincing as they jump from intense anger to cosy intimacy from scene to scene. With a minefield of subtext expected in interchanges between childhood best friends, Glenane and McGlinchey have mastered every detail, compelling the audience to feel the weight and power of nostalgia felt at the missed opportunities, regrets and unrealised potential we face throughout our lives.

Director Anthony Gooley is to be commended for harvesting the production within the sparse, tight-knit TAP Gallery Downstairs Theatre. He has produced an accurate interpretation of Joseph’s script and Glenane and McGlinchey perfectly complement each other to capture the nuances of their characters at his direction. Gooley has demonstrated a fine sense of innovation and resourcefulness through the clever execution of transitions. This execution was complemented by choice music in partnership with sound designers David Stalley, David Couri and Philip Orr. Lighting designer Toby Knyvett masterfully induces atmospheric moods to boost the deep-rooted undercurrents of passion without overpowering the element of performance. The impeccable detail of each costume over the 30-year time span enriched the authenticity of the whole performance, at the credit of Tyler Hawkins.

The Kings Collective has demonstrated remarkable talent and ingenuity through their exploration of youth. Gruesome Playground Injuries is a timely piece that encapsulates human vulnerability as we journey through life with our scars.

Reviewed by Anne Lau

An ordinary high school teacher finds himself desperately enslaved to his attraction to teenage girls and is tortured by the irreconcilable conflict between his true identity and the judgment of society. Is there room for pity and compassion for someone born that way? If it is a biological sexual need predetermined by nature, can we blame him?

Jennifer Forever offers exceptional writing, the kind of theatre that lingers in the your mind and pierces your heart. Intense two-hander scenes between the high school teacher and teenage girl were neatly interspersed with scenes of the teacher lecturing about the evolutionary design of predators and sexual cannibalism. This structure cleverly provided a plethora of metaphors that weaved into overarching questions of free will when it comes to overwhelming sexual desires and paedophilia. .

The complex and three-dimensional characters of Man and Girl were riddled with contradictions, and captivated the audience. Dominic McDonald (Man) excelled in his role, compelling even the most upright viewers to empathise with the torment and brokenness of paedophiles. Equally, Gemma Scoble (Girl) gave a remarkable performance balancing delicate, light humour with the intensity of the play’s darker moments.

Two Peas Productions have truly produced a quality work of art. With robust recommendation, Jennifer Forever promises a worthwhile evening and guarantees debate, discussion and deliberation.

Jennifer Forever is at Old 505 Theatre until September 28. Purchase your tickets now.

Reviewed by Anne Lau