Review: 1972: The Future of Sex


1972: The Future of Sex. A must-see show that will fully submerge you into a vibrant, sensual, hilarious, touching and joyous world of romantic relationships, eroticism, self-growth and exploration. Woodplayers Troupe, directed by Alex Bittar and produced by Maddie Clark, work together as a captivating ensemble to create this world for the audience; each individual cast member passionately explores the importance of journeying to find and express one’s sexual identity.

grabs the audience’s attention from the very first line with her undeniable stage presence and energy, as well as encapsulating a powerful vulnerability to her role as Anna. Zara Stokes-Neustadt offers a similarly engaging performance as Tessa, Clark’s romantic interest, giving the role a boldness and strength that contrasts with Clark’s exaggerated shyness. From start to the finish, the pair safely guide the audience on Tessa and Anna’s story of first love.

The troupe seamlessly transition from scene to scene, as the actors bounce between omniscient narrators and their characters, every moment of the play filled with energy and action. Juliet Willis shone in her performance as Penny, displaying her strong versatility as an actor. Willis gives an endearing sweetness and emotional vulnerability to Penny’s hopeless romantic side that is found in the books she reads, whilst simultaneously embodying an inspiring and undeniable strength that contrasts this in other parts of the production. The show will undoubtedly make you laugh — but if on the off chance you wake up on the wrong side of the bed, Marcus Tapper as Martin will be sure to make you chuckle. From the sides of the stage as the narrator to centre stage in his romance with Willis, Tapper owns each moment of his performance. 

The connection they have built as a cast is what makes this show a must-see

Away from the books to the dance floor, Alex Bittar’s superb performance as Rich gives life, spunk and groove to the show. Bittar has confidence and control, ironically, in a very chaotic and fast-paced play which is a testament to his skill as an actor. Maddie Thompson was a delight to watch as Christine, embraced the heightened role with confidence — her character radiated. Thompson’s unapologetic fierceness yet grace worked well alongside Bittar; the pair’s heightened roles and interactions will have the audience laughing the night away. Last, but certainly not least, Dylan Hicks’ commendable performance as Anton was the glue that tied everything together. Hicks’ moments of vulnerability, confusion, anger and joy poignantly let the audience share in the most important relationship of all: the relationship one has with oneself.

Admits the different love stories were clear and unbreakable energy between the troupe as a whole; the ensemble is what made the play. From the sharp and well-thought-out lighting queues that transformed a somewhat empty stage with a few bouncy hoppers into a vibrant world of 1972 to the penultimate synchronised swimming routine, the creativity and ideas of the troupe are endless. Each actor committed to not only their individual character’s journey, but the collective one – the connection they have built as a cast is what makes this show a must-see.

Image credit: Collingwood Woodplayers

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