Opening night of The Dragon Queen of Argos was a captivating theatrical feast that swept me up from the very first moment. I was completely absorbed in the performances and the striking costumes. This is the second chapter in The Curators’ Post Dramatic Troy Disorder cycle, and it is as bold, gothic, and unflinchingly dramatic as its title suggests. Written and directed by Michael Beh, the piece places Clytemnestra at the molten core of the story — a woman transformed into something more than human after decades of grief and rage, portrayed with magnetic force by Rainee Skinner. Opposite her, Brent Dunner’s Agamemnon provides a powerful counterweight in a performance that lingers long after the final moment.
The strength of this production is also in its ensemble. The rest of the cast bring a quiet mysticism to the stage that is mesmerising to watch. Rebecca Munasinghe’s Iphigenia (Princess of Argos, Ghost, Her Daughter) is striking, while Amelia White’s Cassandra (Princess of Troy, Seer, Abductee) displays remarkable range and is captivating throughout. Lachlan Mills, as the Angel of the Century of God (Eros), adds undeniable presence and shows great promise as an emerging talent. His role was built more fully into the play, and with the right guidance, he clearly has a bright future ahead.
Dr
awing inspiration from Aeschylus’ Agamemnon, Charles Mee’s Remaking Project, and weaving in the haunting beauty of TS Eliot, John Dowland, Tchaikovsky, Brahms, and Marianne Faithfull, this production is a lush, multi-sensory journey. The Curators embrace post-dramatic theatre in all its fearless glory, blending tragedy, expressionism, image theatre, dance, and song — even shifting briefly into French, German, and Sinhalese.
The staging is intimate and immediate, unfolding in The BARNEY at Red Hill with its noir, couture-infused visuals, where the scent of bloodlust and revenge seems to hang in the air. It’s a 70-minute descent into love, sacrifice, and retribution, punctuated by the presence of Iphigenia’s ghost and a lingering question — will this cycle of destruction ever end?
This performance was also a celebration — The Curators’ 8th birthday — a milestone marked by their consistent courage to stage works that challenge, provoke, and seduce audiences. A heartfelt dedication was made to Phil Pratt, someone Michael Beh holds very close, honouring a great friend of the arts gone too soon.
Congratulations to Michael Beh, the cast, crew, and the entire Curators company for delivering such an intense and unforgettable evening of theatre. The Dragon Queen of Argos isn’t just a play — it’s an experience that sears itself into your memory. Don’t miss it.
Season Details
???? Friday 15 August – Saturday 6 September
???? 6 Performances Only: Fridays & Saturdays at 7.30pm, plus one Saturday relaxed matinee at 3.00pm
???? The BARNEY, 28 St Barnabas Place, Red Hill
???? Limited seating. Bookings: Trybooking.com/CXTUC
Performance 1: Friday 15 August, 7.30pm (Opening Night)*
Performance 2: Saturday 16 August, 7.30pm*
Performance 3: Friday 29 August, 7.30pm
Performance 4: Saturday 30 August, 7.30pm
Performance 5: Friday 5 September, 7.30pm
Performance 6: Saturday 6 September, 7.30pm (Closing Night)
*Includes a 20-minute prologue performance of The Last Veil by The Sublime Ensemble — The Curators’ special group of older adult theatre makers.
