“Dark Mofo was the reliably nocturnal sinkhole of gigs, parties, performances and hangovers we hanker for.
Chief among them, Night Mass. This year’s late-night party series echoed 2018’s three-precinct CBD sprawl, though unlike 2018, it was blissfully free of queues. The sets were excellent – Simona Castricum, Our Carlson and the exultant pounding techno of Sydney’s DJ Sveta, my picks.
But the funnest part of any Mofo party is ducking through a door into an unexpected universe. Cue a string ensemble responding to tarot cards; a level spanning noir porn videos, a man tied in knots trying to paint the walls, and the literal cooking of flapjacks; a hilarious drag show Wheel of Fortune; a seven-metre teddy shooting lasers from its eyes; and – my favourite escape – an underground cinema of half-naked hosts dripping wax on guests, mournful synths and, naturally, the dispensing of sweet biscuits. A hazy rabbit warren in which to forget the world.”
“Browne’s fabulous costuming reeks of the era, evoking a world where the clothes are all about status, sexiness and style. He also captures the outré splash of queer nightclub The Tunnel, and adds the disquieting touch of the cast in flesh-coloured underwear under blood-splattered plastic as Bateman’s murderous campaign escalates.”
“Finally, all respect to another of Berlage’s Cry-Baby alums, costume designer Mason Browne. From 80s Hamptons-appropriate swimwear to McQueen-inspired nightclub attire and blood-spattered raincoats, Browne presents a group of characters more camp than the Met Gala and twice as fun. Shout out to his flesh-coloured human dummies.”
“For the staid WASP world of the squares, Browne has utilized a pastel palette, poodle skirts and preppy bow ties. He contrasts this restraint with creativity and freedom for the drapes multicolored costumes of bold colors and patterns with more adventurous figure-hugging wiggle skirts and a rockabilly rebellion.”
“Mason Browne’s inspired set explores Wooloomooloo’s relationship with the harbour. Stacked packing crates frame the stage, giving the cast spaces in which to create bars and rooms, streets and rooftops and wharves.”
“Mason Browne’s set and costume design, immediately apparent for its cleverness and fidelity to post-war American fashion, style and taste, is the first palpable signal sardonic wit will be served.”