The night of my first assignment for Scenestr magazine 21MAR207. Copyright Karen Marken.

Last Friday I reached a milestone with Scenestr magazine, I have now had 100 posts published with them online or in their printed copies on the street. This all started with a review I submitted to them of Hidden Figures that Karen had won tickets to see. The review was published 23 February, 2017.

Within a couple of months I realised if I wanted to make the most of my opportunities there I would have to put my hand up to do interviews. Despite having done this in the past at university I was still quite nervous when I did my first interview with the stars of Grease: The Arena Spectacular Meghan O’Shea and Drew Weston almost two years ago. Knowing it scared me made me confident it would be truly rewarding and that turned out to be true.

In 2018 there were 50 posts published online of my work, it is doubtful I will match that output moving forward, there are things I am currently pursuing away from Scenestr but I am grateful to continue my work for the biggest street press magazine in the country.

The opportunity Scenestr gives writers and how that flows onto the rest of the print industry is extraordinary. I hope to be working for them for a long time yet.

Of the 100 posts published, 10% were reviews of stand-up comedians and their shows, 29% were theatre reviews, 28% were film reviews, 32% were interviews and 1% were reviews of Cher concerts.

Allow me to indulge in pointing out some personal highlights such as interviewing DeAnne Smith, Ali McGregor, Palace Cinemas CEO Benjamin Zeccola, Gravity and Other Myths circus performer Jascha Boyce, theatre director Row Blackshaw, Cassie George, talking to director Clare Watson about Our Town, an interview with comedian Sammy J, and my cover story with SNL star Michael Che.

Going to the Young Australian Filmmakers Programme at Byron Bay Film Festival and talking to young director Cody-Cameron Brown about Don Ritchie, OAM, introducing my wife to the cast of Aladdin backstage, a dinner with Lauren Weisberger where my friend Karen B was also in attendance at the Brisbane Writers Festival, slugging back premium blended whisky and sliders at the Kingsman: The Golden Circle preview screening, attending the opening nights of the 2017 Cine Latino Film Festival, the 2018 Italian Film Festival, Brisbane International Film Festival 2018, taking Karen to see Cher last year in concert, having stand-up Tom Gleeson share my review of his show on Facebook.

Some of the best shows I saw were Circa’s Humans, seeing Love/Hate Actually debut at Wonderland 2017England by Tim Crouch at Metro Arts, seeing The Duke by Shon Dale-Jones, Randy Writes A Novel by Randy Feltface, Tim Ferguson’s A Fast Life On Wheels and my first assignment with Scenestr reviewing Queensland Ballet’s Raw.

If you’re been along with me for part of the journey I hope you have enjoyed the ride, I thank you for your support and I hope to continue with you by my side. Two years ago this milestone seemed very distant if even possible and it has been one of the great joys of my life to have had this happen to me at 36 when I was feeling that life was kind of passing me by. I feel very grateful to my editors for their support and knowledge and to all our readers. Thank you from the bottom of my heart.


Produced by Eyeball Media Enterprises Scenestr is an online national magazine with local offices around Australia. Having started in 1993 they’ve excelled at moving into the digital realm but they remain at heart from the streets. They still publish magazines in print for Western Australia, South Australia, New South Wales, Victoria and Queensland every month.

-Lloyd Marken



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Queensland Ballet’s Dangerous Liaisons is sexy and not for the brief simulations of fornication on stage although that certainly proves inspiring, nor is it the sensual costumes made out of rich fabrics in royal colours, and nor is it the finely toned physiques of the dancers present some of them wearing pants so tight you would see less definition if their legs had been painted instead. All these things are sexy as hell but the sexiest thing of all is the attitude present in this text and those who have adapted it.

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Queensland Ballet‘s mantra for the 2019 Season is “Move Boldly” and in this production they have. In the first five minutes we are introduced to widow Marquise Isabelle de Merteuil getting busy with a lover on the coffin of her late husband. From there we meet a wealth of characters from the French aristocracy of the late 1700s living in decadence and luxury. It seems there’s not a lot to do except have your way with people one way or another as per the original novel by Pierre Choderlos de Laclos.

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The text has been adapted previously most famously in 1988 with Glenn Close, John Malkovich and Michelle Pfeiffer a film I’ve seen but can’t remember a lot about. My memories of the modern day set Cruel Intentions of 1999 (one of the best years of my life) which moved the setting to New York and high school served me far better although there seemed to be some extra characters I couldn’t recall here.

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Knowing the plot will serve you well in order to keep track of things, after all there’s no dialogue in ballet but the important stuff is clear. Isabelle challenges Vicomete Sebastien de Valmount to win over virginal Cecile Volanges as revenge for the fact that coffin boy Comte de Gercourt is now engaged to her. Well actually that might not be so clear but you get a good sense of who is a decent type, who’s in love, who’s innocent and who’s depraved and how that might change. There’s some sneaky humour and a tragic outcome. You might even surprise yourself with where your sympathies lie.

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Artistic Associate of the Royal Ballet continues his association with Queensland Ballet in choreographing this ballet. Beyond all the bold statements and sexy themes is some first rate dancing. I won’t pretend to know I’m an expert on such things but Cecille’s solo was breathtaking of a fragile unjaded soul expressing the joy of first love. Two couplings in particular were very evocative and on the night we went, Laura Hidalgo as Isabelle utterly owned the world as she strutted across stage in her underwear completely beating down the will of Valmount. Some of the lifts in the partnerships were breathtaking in their fluidity and strength.

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Under the stewardship of Artistic Director Li Cunxin continues to go from strength to strength with the entire team he has with him. If I was not as moved as I was two years earlier with their program Raw the sexiness of their Dangerous Liaisons certainly left me stirred.

-Lloyd Marken



Recently I was fortunate enough to review the latest programme from Queensland Ballet for Scenestr. Titled Raw, it is broken up into 3 distinct pieces with both contemporary and classical styles. The Queensland Ballet has really come of age in recent years and I urge any readers from Brisbane, Australia to check it out. You can read more of my thoughts at http://scenestr.com.au/news/arts/queensland-ballet-s-raw-qpac-review-20170322

Produced by Eyeball Media Enterprises Scenestr. is an online national magazine with local offices around Australia. With over twenty years of publishing history they’ve excelled at moving into the digital realm but they remain at heart from the streets. They also publish Scene magazine in print every month focussed mostly on music gigs, festivals, stand-up comics, fashion and interviews with local and international bands. If you’re into music they’re a great read but they do cover all of the arts and fortunately for me I have had 3 reviews published by them for Raw, Logan and Hidden Figures.

-Lloyd Marken