How a man playing a frog was one of the best performances I’ve seen
Sydney Morning Herald
by Elizabeth FluxFebruary 26, 2026
AI-Generated Deep Dive Summary
In a unique blend of art forms, the Perth Festival 2026 showcased an array of thought-provoking works that blurred the boundaries between performance and reality. Among the highlights was the Australian premiere of Philip Glass’ operatic adaptation of Franz Kafka’s *The Trial*. Set in a semi-abandoned industrial office space, the production transported audiences into a surreal world where the line between fiction and reality dissolved. The glass-walled office transformed into various settings—a bedroom, an artist’s studio—while projections added to the disorienting yet immersive experience. This adaptation, along with other performances at the festival, challenged conventional notions of art and storytelling.
The festival also featured *Jaha Koo’s Haribo Kimchi*, a performance that combined cooking, storytelling, and music. Performed by Jaha Koo, this work explored themes of home and displacement, leaving audiences reflecting on their own definitions of belonging. Meanwhile, Thania Petersen’s installation *Rampies sny* filled a room with scent and sound, using organza bags of citrus leaves infused with frankincense and speakers playing *Jieker*. This multisensory experience highlighted the connection between the Yolngu people and traders from South Sulawesi, creating a meditative space where visitors could lose themselves in the art.
Anna Reece, the festival’s artistic director, crafted an event that was both ambitious and intimate. Running for nearly a month, the festival brought together diverse disciplines—music, theatre, dance, opera, and visual art—to create a cohesive yet eclectic experience. Each performance and installation invited audiences to step outside their comfort zones and question their
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Originally published on Sydney Morning Herald on 2/26/2026