Vrhunac predstave “Sestre po oružju” je uključivanje “fusnota”, liste koja se pojavljuje na kraju nakon izvođenja predstave, sa svim konceptima koje je predstava istražila. Publika je pozvana da izabere pet odrednica koje zatim glumci objašnjavaju. Pojmovi su, na primer: “Genetsko pamćenje”, “Mihi” ili “Anzak”. Ovo je pravi kraj predstave koja navodi na promišljanje .”

Edrijen Metjus, “Theatre Review”, Nelson Arts Festival


Every culture has its own unique history, shaped by monumental events. In Sisters in Arms, the individual is given permission to speak their own and their family’s history. Surprisingly, for two such vastly different cultures, the stories have many similarities.

This gives permission, not just to the actors but also the audience, to explore their own history, realizing that each is as important and as valid as the other. This is a fundamental strength of this work. It is a profound realization that different cultures, and the characters within these cultural groups, can experience the same event in remarkably similar ways, despite being at opposite ends of the globe and, in this case, hundreds of years old (Serbia) and very recent (NZ).

The cast are very physical and every story is represented by carefully choreographed movement with live music providing a haunting accompaniment to the stories which are both spoken and sung. The props are simple yet each is imbued with great meaning.

A highlight of Sisters in Arms is the inclusion of ‘End Notes’, a list that appears on the screen at the play’s conclusion with all the concepts explored in the work. The audience are then asked to choose five items that the players then offer discourse on. Examples are ‘Genetic Memory’, ‘Mihi’ and ‘Anzac’. This is a fitting end to a thought-provoking show and serves to give more flesh to the meaning and experiences behind these concepts.”

Adrienne Matthews, “ Theatre Review”, Nelson Arts Festival