Sex Magick

Judges' comments

A workplace indiscretion sees Ard Panicker toppled from his career as physiotherapist to the sporting elite, landing in a metaphysical health spa, selling Ayurvedic rubdowns to yummy mummies in Bondi. From here, his quest to understand himself prompts him to travel to Kerala, a shift that sees Nicholas Brown incorporate multimedia and ancient Kathakali dance theatre, elements that combine to create an utterly new spectacle for our stages.

An ambitious work of sparkling originality, Brown’s vision is mind-meltingly colourful, daring and funny. He explores queerness, masculinity and South Asian Australian identity with verve and a distinct lack of regard for convention. Although undeniably wild, this piece offers persuasive insights into our contemporary predicament: what it is to look to the past in forging boldly ahead.

Sex Magick is an example of where theatre needs to go and Brown navigates these uncharted waters with flair and a grounded appreciation for the value of traditions that we carry around in our back pockets. That is, when traditions — like theatre — evolve with us, they move our conversation forward while continuing to reflect who we are and dare to be. This celebration of change, its awkwardness, strength and unexpected delights is uncompromisingly theatrical and truthful. The panel were unanimous in their decision: Brown offers an eclectic buffet of ideas, deliciously different both in their presentation and import.