Sonder

Anna Sokolova
5 days ago
2 min read

Old Fitz Theatre 15 - 23 May 2026, Sydney

The review

A chamber solo musical recital, composed of deeply emotional songs, dance, and background declamation - pieces of the life of Romeo, a Māori man. The references to the heritage are crucial here; searching for the deep meaning of belonging, a memory trip from childhood to connecting with self, becoming a Mau Rākau warrior, is the backbone of a story.

It is a show built on pathos. The shuttered feeling of self is wonderfully allegorised by the stunning stage set-up. There is a large reflecting circle on the floor, edged with a lightened colour-changing ring, where Riki Lindsey is confined. Above, several sharp pieces of reflecting metal are hanging off the ceiling. They are moving, changing the volume of space where one is reflected an uncountable number of times. They shape the space where one cannot hide, constantly hitting one's own reflection no matter where one looks.

Searching for self when swamped by own reflections - like desperately looking for an exit, bouncing off the frames of open doors.

There is too much allegory and fragmentary memories and pain referring to Father, Mother; happiness of finding love and being horribly heartbroken; connecting to the ancient art of Mau Rākau. Unfortunately, though the bold symbolism of moves and deeply meaningful fragments are not connected to each other. There shall be something grounding there. The density is too high. There is no air left to connect, except one song about Paris, which tells a complete story in itself.

Bringing such personal life experience to the stage is profoundly brave. And it feels that this work is winning, once thought of as a set of beautiful illustrations for the book it is based on.