Honi Soit wrote “Writer, producer, and actor Skye Paez, with producer/director James Hartley produced an astonishing one woman show, Transcendent Love, encouraging her audience to witness  and understand the layers of hatred transgender women face as they move through the world. Yet through a story of embracing love despite all its uncertainties, she offers her character Aurora, and us, both healing and hope…

The show that follows is as delicate and colourful as the wing of a butterfly, seducing us with its fairy tale storyline. Paez’s script touches on death and insecurity, but it is this opening moment of shame that looms the darkest. Seeing the way Aurora allows herself to be loved despite her fear, and the love she cultivates for herself and others throughout the play, is all the more heartening.

Ostensibly, Transcendent Love is a romance. Girl meets boy. She’s swept off her feet, but has to win his family over. It grows, however, into something much more complex and unexpected. It is a tender meditation on relationships of all kinds: with family, exes, forbidden loves, religion, and most poignantly, the self.

The gorgeous Paez is Aurora, our glamorous romantic heroine clad in a sophisticated little black dress like Audrey Hepburn in Breakfast at Tiffany’s. Paez performs a range of other roles in this production, allowing her to showcase her extraordinary character-acting chops. She plays the suave Francois with swagger and more than a touch of humour, and somehow manages to have sweet chemistry with herself (you’ll have to see it to believe it!) The real hilarity comes from her performances as Francois’ eccentric parents: the jolly Arnault and severe Dolores, dripping in Chanel.

It’s a testament to Paez’s theatrical world-building that we forget that she is the only actor onstage, but never lose sight of Aurora as the beating heart of the play. On a nearly empty stage, without props or costume changes, she transports us from Francois’ apartment, to a hospital bedside, to the city, to a rose farm in the French countryside. The audience remains utterly rapt in her spell. Perhaps the most stunning moment is Aurora’s conversation with God, a disembodied feminine voice who reassures her that change isn’t blasphemy: It’s divine. It seems gloriously metaphoric that in a play celebrating the infinite evolution of being, Paez should morph so gracefully to tell this story.

The command of sound and, in particular, lighting as storytelling is also hugely impressive. In Francois’ garden, on the couple’s first date, the stage is bathed in rich greens and purples. Aurora herself, however, is lit in hot pink, signaling danger. She can’t bear to tell Francois about all of her. “Evacuate, evacuate, this is how girls like you get killed!” But she takes a chance, and the pink becomes the radiance of passion.

At just under an hour runtime, this production shimmers as ephemerally as the rainbow Aurora takes to be her ‘sign’ to fall in love with Francois, immersing us in an experience of exquisite beauty and emotion that is never overly sentimental. It’s a gentle hymn to the divinity of transformation and becoming.

In resistance to a cold, angry world, Paez has created a refuge of light, music, and “love, transcendent and true”, just as Qtopia feels like a safe haven in the inner city. The impeccably crafted production is a life-affirming celebration of our bonds with one another, with ourselves, with our beliefs and aspirations. There is humour, pathos, and a haunting acapella rendition of ‘Somewhere Over the Rainbow’.

Quite simply, it’s magic. See it while you can.”

The Young Syd Review wrote “Skye Paez presented the beautifully bubbly Aurora, a character who is a sappy romantic, but also has a fierceness to her, and knows her value. Skye’s stage presence was often highly captivating, with her loud physical and vocal comedy causing roars of laughter and to powerfully commandeer the space. 

Alongside the comedic moments, there was also a pairing serious tone. The show had a wonderful perspective, having a very perceptive insight into relationships and self identity through prose and sometimes what seemed deeply metaphoric poetry, as we all reckon with what it means to be authentic, even when it's scary, and what it means to stick by yourself and value your importance even when it's hard. Paez’s writing forces the audience with hard truths, and shows some of the big questions and confrontations that trans people have to experience, often things that the average cisgender person would rarely consider. The play's uplifting tone allowed these serious moments to shine, and was a highlight of this show.

Overall, this is a wonderful Queer play with wonderful insight and charming whimsy and an awesome start to my massive Sydney Fringe Season in 2025.”

Theatre Ins and Outs wrote “Skye Paez personifies each person she meets, making them all feel real.  She describes the world around her through her heart, the beauty that surrounds her - flowers, sky, small decorations. The world becomes vivid and warm, the Universe is alive and responding. She ​​intersperses it with tiny divine moments, which shine like precious gemstones. The world she creates welcomes transformations and truth, and gives one strength to reach out offering her voice, her hand and support.

With every turn of the story, this beautiful woman proves that there is no catch, the fairy tale is indeed coming to life, and love, compassion, and forgiveness are real magic, truly powerful to change the world.”

Theatre Thoughts wrote “A laugh out loud murder-mystery filled with heartfelt, comedic performances...

In Death in the Pantheon, we witness a family turn against itself and the outside world, with twists that keep you guessing...

I walked into the theatre, chose my general admission seat and was happily charmed by the off-key singing, terrible dance moves, and jovial atmosphere from the cast already bringing the energy with a pre-show party...

Some extremely passionate deliveries from Ares (Edward Frame) and Zeus (Dean Tuttle)...

Death in the Pantheon has a fantastic premise with lots of potential, and provides many laugh out loud moments as well as heartfelt, thoughtful ones...

Acting standouts are Jessie Lancaster as Aphrodite, whose sinuous Southern Belle is nuanced and committed, and Cam Ralph as Poseidon, whose variations between drama-king and old-God wrath is complex and believable. Both are on-point with timing and consistently committed; making me laugh aloud repeatedly, as well as revealing hidden depths (Poseidon’s bowl of simply sea-water, for example, was delightful). Frame as Ares...takes a startling, wonderful turn toward the latter part of the show, when he reveals hidden depths to (and about) Athena (Natasha Cheng).

Cheng's performance is beautiful...her last lines are delivered beautifully and leave the show ending on a really positive note...

Hades [is] perfectly, prissily played by Bendeguz Devenyi-Botos...

All of the actors each have fantastic moments; it’s clear this is a skilled cast with great talent, humour, and energy, and the storyline should be a fantastic vehicle to showcase them all...

Death in the Pantheon is definitely worth a watch. With an abundance of retellings around, setting it as a comedic murder mystery is a great point of difference. It’s a fantastic premise with some great acting.”

Theatre Red wrote “Athena, the god of wisdom, must identify the killer before more immortal lives are lost. (Don’t worry, that seeming inconsistency is cleverly overcome)...

After all, the Greek gods are hardly household names in Australia, and no-one, anywhere, has taken them seriously as objects of devotion for millennia. However, the script ensures even a classical novice can navigate this foreign world.

Natasha Cheng is absolutely outstanding as Athena. Her presence and poise are divine. Brenton Amies as Hermes delivers one-liners with perfect comic timing. Cam Ralph uses his beautiful bass voice to superb effect in creating an amusingly self-important Poseidon. Daniel Moxham as Dionysius induces giggles with a portrait of a deity who has simply partied too hard, a god who offers not life-affirming ego-destroying joy, but rather falls into pathetic little tricks to hide a substance-abuse problem...

But though Hartley gives us gods, he provokingly leaves us pondering our relationship with them. Not the irrelevant ones of Olympus, but rather all those authority figures, all those grand narratives, that we project into the firmament – in the unspoken hope that this will somehow secure them from earthly Life’s frightening untidiness.”

ArtsHub wrote “The premise is an interesting one: a murder mystery set among the pantheon of Greek gods. When one of the gods, Hephaestus, is murdered, Athena plays detective and embarks on a mission to unveil the killer...

Daniel Moxham, who plays Dionysus, is one of the few to proudly use an Australian accent and his performance doesn’t suffer for it (on the contrary, he is very good)...

The lighting and sound are effective and serve the show well.

The performances are generally solid. Natasha Cheng acquits herself admirably as Athena – an important feat, considering the narrative largely hinges on her.

Susan Jordan plays a strong Hera, her considerable experience in New Theatre productions and elsewhere holding her in good stead.

Brenton Amies’ comic timing is up to the mark; he turns in an amusing, nuanced performance...

While the whole cast of 10 give creditable performances, it is perhaps Jessie Lancaster as Aphrodite who stands out as the star. Lancaster displays range and professionalism throughout and is observed to be in character even when the spotlight is not on her...

It’s worth mentioning that the script is original, whereas many similar theatre companies choose to put on tried and tested “old faithful” productions.”

That Show Blog wrote “In James Hartley's Death in the Pantheon, (currently at Flight Path Theatre) the comedy that engaged audiences at last year's Sydney Fringe has undergone a metamorphosis, emerging as a now-mature exploration of mortality, purpose, social hierarchy, and fidelity. While the wit and rapier-like repartee remain, the performance now interweaves genres, culminating in a virtual Shakespearean presence of confrontation and tragedy...

The script at this point appears as a tapestry of wit, satire, and dramatic flair...

Hartley's script and direction wrenches the narrative from comedy, replete with clever red herrings, to a subversive exploration of expectations. There are profound messages here, perhaps deeper than one might anticipate from a procedural detective drama set in mythology.

Death in the Pantheon is a unique storytelling experience, satirising genre conventions while presenting intense one-on-one conversations between characters that seem preposterous between gods, yet underline the universality of such confrontations among humans.

Ultimately, beneath the surface of the mystery, the production comments on the inevitability of progress and change, and how humanity relentlessly moves on, leaving once revered and respected beliefs in its wake.

Come expecting one thing, and leave having experienced another.”

Political Theory and Practicewrote “It is fun, and the governing theme that the gods need worshipers more than worshippers need gods emerges...

The performers are each committed to their roles. We enjoyed the energy of the petulant Ares, the Tennessee Williams glamour of Aphrodite, the solemnity of Athena, the insouciance of Zeus, the practicality of Hera, the persnickety Hades, the preening Poseideon, and reeling Dionysius, the sarcastic Hermes whose reading of the wedding apologies was a notable.

Australian Stage wrote “There’s Zeus, of course, the notorious swan inseminator and thunderbolt wielder; Poseidon, pissed off trident toting seaman; hot headed Adrenalin junkie, Ares; dipsomaniac Dionysus; helluva guy, Hades; Hera channelling Sybil Fawlty and Aphrodite channelling Blanche Du Bois or Scarlett O’Hara...

These ungainly gods...play free range on an interesting set by Victor Kalka, a suitably nether-worldly confection...

No chorus just chaos.”

Theatre Thoughts gave the production 4 stars and wrote “A heightened murder mystery comedy that provides a solid hour of laughs...

The work begins with Ares, god of bloodlust, performed by Atlas Adams. He’s over the top and cartoon like, he’s the butt of most jokes and has great comedic pace. Susan Jordan performs the role of Hera, she and Adams bounce off each other with the most magnetic of chemistry. The two of them presented hilarious, caricature like performances which reminded me of the ancestors from the cartoon version of Mulan. Natasha Cheng enters the stage in a white toga playing the main role of Athena. Her stillness and calm, clear characterisation juxtaposes the cartoonish comedy, which is very much needed to ground this giddy, frivolous work.

Dean Tuttle plays Zeus, he’s gruff and dry humoured, alongside Brenton Aimes who performs a very silly Hermes. Cam Ralph plays Poseidon, dressed like a pirate and equipped with a wonky trident, he brought great frivolity to this spirited character. As Dionysus, Kat Tait was hilariously pessimistic and stern in their manner. Jessie Lancaster was charmingly obnoxious and melodramatic as Aphrodite alongside Shiva Chandra as Hephaestus and Bendeguz Devenyi-Botos as Hades.

The writing is silly, easy to follow and very entertaining; the laughs around me were constant. The cast have wonderful ensemble skills, a very cohesive consort which helps to manage the constant high volume, high intensity nature of the work...The work was very busy, almost dizzying, and so jam packed with jokes I feel like I’d need to see it again to appreciate it properly. Death in the Pantheon is a very entertaining, fast paced murder mystery comedy.”

Sydney Arts Guide wrote “What we have is a night of comic mayhem. The cast of five - Brenton Amies, Debbie Neilson, James Hartley, Cam Ralph, and Emily Tighe - play their outlandish characters well, the show’s humour is endearing and there are some twists and turns to look out for.”

Reviews by Judith wrote “Absurdly proud of its improv roots and embracing a highly arched silliness with gusto, it’s a production with laugh out louds, headshaker groans and not a few titters as the cast hurtle around, joyously untethered by traditional theatrical trappings...Hartley has a mean way with whacks of silent suspicion and gives his cast just enough rope to stay within the production’s very clearly conceptualised style.

With fabulous ensemble flair, each of the actors has the whole picture well defined despite some of the wild tangents that the plot heads off on - dragging a happy audience with it. If the show loses its grip on the watchers towards the end, the surprising finale pulls us all back into the small room which the cast has made their own. Debbie Neilson, she of the aforementioned red dress, has filled the air with an outrageous vapid cackle, but not too much; Brenton Amies has potty-mouthed his way into our hearts; Emily Tighe has swirled deliciously with a glorious line in side-looks; Cam Ralph has used a sneering height to down-nose, manipulate and belittle and James Hartley’s harrumphs of privilege and stupidity have rounded out the five who, mind you, maintain manners and stiff upper lips at all times...

There’s clever dialogue, the first belly laugh which is related to their fear of the unfed, is a cracker throwaway and there are many more to be had. Added into the mix is some physical comedy chaos, ‘Oh fuck! My knee’ only just escaping from the melee, to draw another guffaw from me.   I also had a bit of sly pleasure in not twigging to the ending.  Considering how much theatre I see, I should have guessed the dastardly perpetrator.

The Mona Lisa Five is terrific fun.  It’s theatre made on a budget with enthusiasm and skill. And well done to Upper Crass for taking the initiative to pop-up some theatre in such an entertaining fashion.”

Night Writes wrote “Hartley’s farcical mystery script is rife with innuendo and outright crass humour that satirises the genre as much as the social elite...The cast present a strong comedy ensemble with excellent comic timing and a keen eye for the balance between humorous over-dramatics and ham-fistedness. Brenton Amies plays Bertram, the outlier of the group who suffers both from his unrequited love of Claudia (Debbie Neilson) and his PTSD...but Amies manages to provide the majority of the narrative’s forward momentum. Neilson is a recognisable British rose, too posh for her own good, and in hopeless need of more attention. Emily Tighe as Millicent is a stand-out for her refined representation of the ignorance of privilege. In particular, Tighe and Neilson’s combined cattiness against the men, who they treat as oblivious playthings, is a juicy treat from the production.

Design by Aileen Fang sets the rambling shambles of an evening in Lord’s smallest castle on plush lounges and under the steady gaze of Lord’s father’s portrait, hung pride-of-place. A plethora of bottles of alcohol and mismatched silver drinkware propagates the show’s physical humour as much as it serves to punctuate the characters’ carelessness; knocking over drinks and misplacing bottles galore.

The Mona Lisa Five is a knotty comedy spun from a highly improbable premise for absolute silliness...the commitment of the cast makes the night an overall devilishly messy good time.”

Theatre Travels wrote “Actors Shayan Askari and Edward Frame (Zachary) have great chemistry as a pair, with a great understanding of each other as performers. This is seen in the way the dialogue flows freely, and their love for each other as brothers in arms is enjoyable to watch. They carry this two-hander well between them, and we feel as if we are sucked right into their little world, just the two of them, in this vast, unforgiving minefield.

In a pop-up theatre space, the set is usually the first thing to be compromised, but designer Rose Montgomery took this in her stride, bringing us an intimate set littered with pebbles and dried brush. This not only brought us quickly into Booker and Zachary’s world but filled the space with fantastically hollow and uneasy sounds as the soldiers crunched through the ground and tested their luck with the mines.

Pitched as a dark comedy, This Modern Coil presents us with punchline after punchline...This Modern Coil presents some really interesting concepts that stay with you long after you leave the theatre.”

Night Writes wrote “The two actors maintain a camaraderie throughout their disagreements and repeating deaths and bounce well off the mix of musings and memories they present to each other while waiting. Frame is the straight-faced of the two, choosing no-nonsense reasoning...Askari, on the other hand, plays a romantic, passionate Booker who approaches the world with more wonder than his conservative friend. His performance built a broad, open characterisation that was at times unpredictable. Both offer solid performances...”

Reviews by Judith wrote “This Modern Coil is a revisiting of a one-act play in absurdist style which was done at the Sydney Fringe a few years ago and the offering is a lovely escape...

The world around them is created quickly by Writer/Director James Hartley with the edges well defined in the writing.  That is not to say that this intimate two hander lacks scope, they know there is an out-there there!  The story will loop around on itself and reverberate, with the reiterated sequences having an odd comfort to them for such a fractured telling.  Each little scene stands alone and becomes more meaningful as we get to know these characters...

Askari gives Booker a chatty and pragmatic demeanour when we first meet him, but there is a questioning and somewhat spiritual soul inside his lightheartedness and Askari brings this out as he moves through the piece.  Frame does a great deal of listening as Zachary and it is very well executed with the emotional connection clear and the cynic firmly engaged.  Hartley’s choice to never break the fourth wall is an excellent one especially when sections reprise and Zachary and Booker have big questions to ask of their world.  Both of the cast also negotiate the required periods of stillness with extremely good physicality.   That could get boring fast but the actors have a deft way of keeping the space moving...

This Modern Coil has much to recommend it and is deserving of your attendance for some funny situational and character humour, some laugh out loud (please!) nonsense and no small measure of existential crisis.  And I can’t say it enough … every show is a good show especially when it involves a sequence of interpretive dance!” 

Sydney Arts Guide wrote “With everything on a life and death balance, it’s the very cerebral, philosophical, and sometimes humorous banter between the two men that makes this very deftly written play. Hartley directs his play well. The play showcases two really good performances by Shayan Askari and Edward Frame...Try and catch this very well performed and cleverly written play before it closes.”

Theatre Travels wrote “there wasn't any chink in the armour at all. Most impressive was how the show didn't fall into the trap of relying solely on comedy. There were very effective moments of drama, particularly in the climax. The company work off each other flawlessly and quite frankly the show didn't feel improvised 99% of the time.

On questioning the team afterwards, it turns out all they rehearsed was the structure. Understandably so, considering the theatrical conception.

The cast and creatives set themselves a monumental task here, a huge gamble that paid off in the best way possible. They plan to do an entire season down the line, which is cause for celebration and something all theatergoers should endeavour to see. Without a doubt, this is a form of entertainment which should be further developed and seen the world over.”

The Buzz From Sydney wrote “the Upper Crass gang are taking awful liberties with Ibsen and the result? You have to see it.”

Mick Donedee (producer) wrote he “was delighted to see a group of talented up-and-coming young actors tonight at the new Pioneer Theatre, Castle Hill, taking on the challenge of performing monologues about personal struggles with problems at home, school and their own self-image and insecurities. I particularly enjoyed the writing of playwright Maura Pierlot who crafted a range of characters we could identify and empathise with. It makes us realise that we probably all have some vulnerabilities that could easily lead to mental health issues if we hide them to gain social acceptance. Congratulations to James Hartley who we know well for his comedy but he directs these monologues with great sensitivity.”

Denise Tart (author) wrote “A cast of eight young actors brought to life a series of moving and often haunting monologues, each dealing with different aspects of youth mental health. The performers hailed from across the country, some with more experience than others, but each gave convincing and compelling performances, particularly given they were all older than the actual characters.

The direction, in the hands of James Hartley, was confident, yet subtle. He coaxed performances from his cast that spanned hilarious to heartbreaking. The decision to keep all the characters (students from the same high school) onstage throughout to witness each monologue was strong. It placed each story firmly in a ‘real’ world and underlined how important the gaze of their peers can be for many young people. The classmates all sat, stood or crouched in the shadows listening to one another, adding dynamism to what could have otherwise been quite a static format. The production was enhanced by a simple, but evocative, even whimsical, set and lighting design.”

Suzy Wrong wrote "Intelligent, humorous and charming, James Hartley’s This Modern Coil explores our relationship with mortality, through a process that is inevitably philosophical, for an existentialist work that is simultaneously universal and challenging.

The writing operates at several levels of intellect, with some moments proving to be more accessible than others, but even at its most demanding, performers Atlas Adams and Tom Green are able to provide a sense of authenticity that keeps us engaged in their cerebral drama. Both men are gregarious and charismatic, effortlessly funny in a show that is almost always entertaining. Their impressive chemistry secures not only our attention, but also our empathy. They are very likeable characters that never fail to let us see ourselves reflected in all their anxieties and fantasies.

Hartley’s own direction of the work is accomplished, with effective manufacturing of tension through much of the piece...Set and costume design by Ara Steel is creatively and proficiently rendered...There is a depth to This Modern Coil that is very admirably courageous, and balanced with a confident sense of comedy and storytelling, we are lured into a meaningful exchange about the biggest and hardest questions of life, only without the usual feelings of intimidation and alienation.”

The Buzz From Sydney wrote “This Modern Coil intelligently draws inspiration from Schrödinger’s famous theory highlighting the absurdity of multiple-state-physics and then connects it to the modern-day infinite universe theory to blur the lines between what is real and what is simply imagination. With such complicated themes, the dialogue sacrifices a degree of realism but as long as you are prepared to give the play a high level of focus, you’ll be kept interested instead by the cleverly contemplative writing style.

Ara Steel’s set design is impressive in its simplicity, building a stage out of only cardboard that still conveys the quiet, looming danger of a warzone...both Green and Adams are incredible as they present the personification of optimism and pessimism. They are both equally charismatic and charming in their opposing characterization and do a tremendous job...This is a genuinely clever, thought provoking and well-performed play.”

Sydney Arts Guide wrote “for me the enjoyment was in the wit and the characters and the seemingly infinite variety of endings possible each time there was an ending. It’s very funny in places and well interpreted by Atlas Adams as the disarmingly naïve optimist, Booker and Tom Green as the poet and thinker, Zachary.

The actors really have a great rapport from the first time we see them. We immediately understand that they have spent a long time together in war and peace. They have shortcuts to communication and silences are ever-present. As Booker, Adams has a ready smile and a childlike enthusiasm. His physical and emotional foil, Green‘s Zachary is stoic and long suffering. Both actors have good command of the physical aspects of the role and there is some very clever static physical comedy. The cat in the backpack reaction was a highlight for me. They bring voice work with variety and carry and have an excellent command of tempo, a skill honed by their improv work. Green will sometimes react to Adams’ perfectly placed gormless Booker statements with sharp reports or with exasperated silence.

Director James Hartley has guided his cast well through the minefield of inaction and quiet, what actors often call “death on stage, right?”. He has them hold quite a few times and whether the stillness is empty or replete, it has clearly conveyed meaning. Nor does he allow them to overplay the comedy. The wit is all character based and much of it is laugh out loud. But there is a beauty that he allows them to wander into as well...Hartley is also the writer of the piece and it is well plotted, not too obscure and has thematic balance.”