Girl In Tan Boots

Tahli Corin's new play takes you boot-first into the surprisingly varied culture of commuter publication coffee requests. Both a mystery and a musing on existence, we watch as Detective Carapetis (Linden Wilkinson) struggles to separate life from work as he investigates the disappearance of the single, living alone, cat-owning Hannah.

Odile Leclezio brings a new perspective to the part of the grieving parent as Hannah's mother; Hannah's friends – Zindzi Okenyo, Madeleine Jones and Francesca Savige – operate as one preened, bitchy and occasionally concerned organism, a gaggle of girls-as-women enjoying the drama of the spotlight. These characters and others plucked from strange world of texted affection are of little help to Carapetis, whose involvement eventually begins to unravel her.

Katren Wood's design works well: a versatile apartment, its underfurnished finish highlighting some sense of loss, some sense of a void. The limp presence of a mannequin brings questions of identity into sharper focus: are we only the colour of our hair, our less-than-fashionable fashion, or a series of equally quaint surface-level signifiers? What brings the body that bears the clothes to life?

A choice.

Ultimately there is the removal of victimisation, and with this revelation we must reconsider what has played out for the last 80 minutes not as tragedy, but as triumph. A rebirth on one's own terms, and all the possibility that suggests.