Set in the not too distant future, the play opens on Alice’s thirty-first birthday when her overbearing mother presents her with Jack Data, a “perfect man” robot, with reproductive options.
Jack Data is a comedic look into our future, to a time when robots become a viable substitute for human intimacy. This play is not so much a cautionary tale about technology as a cautionary tale about human behaviour, and reminds us what it means to be human.
Susy Wrong "Actor Mathias Olofsson is very delightful as Jack, with fabulous physical expressions that communicate with great dynamism. He makes us see robots as superior beings, as technology invented precisely to address the many faults of our organic selves."
Judith Greenaway "This character, Jack Data, is played by Mathias Olofsson with charm, detail and an uncluttered fussiness. He pulls off the very neat trick of displaying the impassivity of the mechanical while engendering the empathy we feel for the powerless. He has the mannerisms and facial expressions just right, maintained and focused throughout the show and we miss him when he powers down."
"His exterior work is broad enough to be comic yet Olofsson very subtly implies the programming flaw which might explain our response to Jack."
Joy Minter "Mathias Olofsson brings quirky life to Jack, without resorting to standard android clichés. He has a forced smile that elicits much laughter, and a number of facial tics that make him endearing and odd all at once. Of course his oddity is the whole point."
M Osborne "The stand out performance however comes from JackData himself, played by Mathias Olofsson who’s physicality as a machine is both hilarious and truly captivating to observe. This level of commitment to posture and reoccurring gestures is very impressive."
A bizarre physical comedy about the horrific leaders in power today.
Devising and performing with Hurrah Hurrah and their final development of TRADE, the ensemble use their heightened style to maximum effect to tell the story of the levers that make our world work and to consider our own role in this huge machine.
TRADE is a highly physical, darkly comic journey of redemption through the lens of hedge fund Delta 1. It questions our own complicity in the world we live in. It implicates all of us in the questionable financial dealings of the hedge fund who crash, rise again and grapple with their consciences in the wake of extraordinary circumstances. Hurrah Hurrah takes the audience on a remarkable journey from their white washed offices, through the markets of India and into the dark belly of finances. TRADE is funny, fierce and thought provoking.
Kevin Jackson "At just under an hour, Alison Bennett, Dymphna Carew, Melissa Hume, Alicia Gonzalez and, particularly, an impressive Mathias Olofsson, with meticulous skill and a huge acerbic and intelligent grasp of the world of finance cleverly illustrates those 'dark' forces and their greedy appetite at work. It has echoes of the great Scorsese film, WOLF OF WALL STREET, with the same relish of satiric gruesomeness.
Smart, physically crisp and drilled, cynically intelligent and funny, Hurrah Hurrah pulls it off. I reckon an evening of some provocation and witness to promising skills will reward you making an effort to see TRADE".
The Clothesline "The action is tight, the ensemble work superb, there’s drama aplenty"
The Advertiser "Captivating performances, zippy choreography and multilayered messages"
Adelaide Theatre Review "An excellent piece of theatre"
Hurrah Hurrah is a theatre company dedicated to actor led, processes based theatre and live performance. .
Babelism: Love & Memory explores how love has impacted your self worth and what memory you retain from past experiences that affect your 'now' state of being.
Babelism:Love & Memory, has been a birthing affair for artist Sarah Vickery for almost two years. Her desire to create devised work sprung from her influences Marina Abramović, Martha Graham, Pina Bausch and Olwen Fouéré. These women have all been unaware, distant mentors who have made heavy handed impressions on the drive and conception of Babelism – a series of endurance works focusing on different aspects of the human condition.
Drawn from the artists’ personal experiences, Babelism:Love & Memory is an intimate live art performance for an audience of 12. Hosted by project facilitators Sarah Vickery and Mathias Olofsson in the centre of the room, the 12 viewers will be presented with a series of considered questions and thoughts relating to love and self-worth. Project facilitators will interact with the audience and Maria Alfonsine’s composed sound design through gesture and movement to express these thoughts and questions. A 45 minute experience where YOU are the most important person in the room.
Babelism:Love & Memory, was a part of Melbourne Fringe Festival 2016 at Metanoia Theatre at the Mechanics Institute in Brunswick from 28th September – 2nd October.
Lemon Tree presented by Artefacts is a short absurd theatre-operatic-bite, exploring ourselves in a darker light. Equally as imperfect (as nature) and equally powerful. A Marques Laundry Theatre Co production.
Performed at Blank_Space Gallery as part of Artefacts 2016.
by Jean-Paul Sartre
An Archway1 Theatre Company production 2014
Adapted from French into English by Paul Bowles.
Directed by Leon Kowalski
Matthew R. Grego
Jean-Paul Sartre, the winner of the Nobel Prize in Literature.
Sartre’s existential classic, No Exit is cleverly written with humor and wit, about three strangers crossing paths in the afterlife while awaiting their ultimate fate. We explore the private conversations and confessions of the characters locked together for eternity. “L’enfer, c’est les autres”, “Hell is other people”.