The Rabble don’t make easy theatre, but it’s an easy choice to see them. Always starting with a well-known text – Orlando, Frankenstein, The Story of O, Room of Regret (The Picture of Dorian Grey) – they deconstruct, bring the subtext to the front, and rework the text until it’s distilled into something that’s somewhat unrecognisable but holds the essence of… Read more.
It was cold in Hobart last night. The sun’s out today but tonight promises to be colder, darker and weirder as the third Dark Mofo festival opens and this gorgeous city celebrates art that’s made for icy dark nights. A highlight of the theatre program is The Rabble’s Orlando, which opens tonight at the Theatre… Read more.
My uterus is still reacting to The Rabble’s Frankenstein. I say it every time, but no one makes theatre like The Rabble does and Frankenstein is stretching their own boundaries far enough for Malthouse to include content warnings. Read them and you’ll know if you should give it a miss. Working with their actors, co-creators Kate Davis… Read more.
No one makes theatre like The Rabble do. It’s like co-creators Emma Valente and Kate Davis take the concept of theatre and re-create it into something that looks like theatre, but feels like a trip – I don’t mean holiday – that simultaneously assults and calms and awakens bits of your brain that you didn’t… Read more.
Carousel ponies, huffy walk-outs and a personal trigger warning when you pick up your ticket: The Rabble have adapted the Story of O for the MTC’s sensational Neon season. It’s confronting and confirming and I loved it so much that it hurt a bit to watch. I love The Rabble’s work with the kind of love that defies any… Read more.
Tell me a story. Tell me in a way that it’s not been told before. This is the bliss of theatre. The Rabble’s Orlando is so far from the experience of reading Virgina Woolf’s book, but as close to knowing its essence, I want to say soul, as possible. Woolf’s 1928 novel Orlando was a love letter to Vita… Read more.