Keith Gow, Writer

There’s no people like show people They smile when they are low...
I’ve seen Christie Whelan-Browne on stage numerous times – in many Production Company shows (like The Boy Friend, Sugar, The Producers), at the Melbourne Theatre Company (in The Drowsy Chaperone and The Importance of Being Earnest), in big musicals (A Funny Thing Happened on the Way to the Forum, Xanadu), small musicals (Once We Lived Here) and cabaret (Britney Spears: The Cabaret).
She’s the kind of performer whose name will make me want to see a show more, if I’m ever uncertain. Each and every time I see her, I still wish I saw her on stage more often – because she can sing and dance and always creates rich and complex characters, when the show requires it. She’s been in three shows with Geoffrey Rush and has pretty much stolen the show from him each and every time.
If this feels like I’m getting carried away, it’s true. But this is the kind of roll I get on when I talk about her work. This is the kind of excitement …

Adam Goodes. Sandra Bland. Cecil the Lion. Bronwyn Bishop.
Four vastly different stories that have filtered through news and social media over the last few weeks, that have basically nothing in common – except they are all about systemic abuses of power. Goodes and Bishop are intensely local stories that have vied for our attention in Australia. Sandra and Cecil are both stories we’ve heard a hundred times before – and this week, we argued about which should outrage us more.
All of them important. None more important than any other. Bishop may have resigned today, but the system she was using to her own advantage continues. Goodes may not have played football this weekend, and the tide of support has turned toward him – but those who booed him last week probably still wish they could boo him this week. And some, hopefully, have woken up to themselves.

I Am A Miracle by Declan Greene and directed by Matthew Lutton, currently playing at the Malthouse Theatre, was inspired by a miscarria…