Paul Ransom, Journalist

The Keir Choreographic Award ain't no reality show imitation, says dancer Sarah Aiken.

"The humour is late night, rude and raucous – just what you’d expect from a gay club drag act."

"Y’know, people are very critical if they’re not good singers; and you can’t mime anymore and they’re writing their own songs now. They seem to have to have talent these days."

"I’m just doing it to give people some entertainment and help them forget their troubles for a couple of hours.”

"You really notice the physicality of ballet. I mean, you’re throwing the girl left, right and centre and it’s legs, arms and torsos everywhere."

"We’ve sorta prided ourselves over the years in bringing disparate things together but this one might actually be the most ambitious so far."

"The ingenious use of props and SFX throughout keeps both the laughs and ‘tender bits’ ticking over."

"I should think that by the time I’ve finished with Australia any resistance will be futile."

"I wanted to give the audience an evening that had light and shade."

"The black social movement at that time was pretty amazing, in terms of a line in the sand and ideas about black empowerment, so it’s not a time we don’t like talking about."

What really powers this show is Robin Fox’s beguiling soundscape.

“Who knows, if he was with us today he probably would have been in a partnership with Cirque making some magic happen.”