Testimonials and Reviews

“You don’t need to be in the biz to appreciate that this all-female company holds a firm place now in the Australian theatrical ecosystem. Having been brought on board by Queensland Theatre as Resident Company for 2019 and with a string of award-winning original productions... Belloo is one of our boldest, bravest, most original and transparent mouthpieces.” — XS Entertainment

“Belloo Creative have been a revelation as Resident Company at Queensland Theatre. As individual practitioners, they have made a significant impact on the quality of the company’s work, lending directorial and dramaturgical insight to the new stories we have taken to the stage. As a collective, they have made an equally impressive cultural impact, lending their feminist lens and personal integrity to repertoire discussions. We’re thrilled that Belloo Creative’s residency will translate into a world premiere work for the Queensland Theatre mainstage in 2020.” – Sam Strong, Artistic Director, Queensland Theatre

Back to Bilo (2025)

"A must-see production about the triumph of the human spirit and the power of community." — Cathy Hunt, Women of the World Festival

★★★★½ “Back to Bilo is a powerful piece of theatre with connection, care and community at its core.” — ArtsHub

★★★★ “A moving story of resilience and resistance, Back to Bilo is a call to action in every sense.” — Limelight

“The remarkable story of the Nadesalingams and Biloela makes for compelling theatre” — The Guardian

“Profound and inspiring… it’s an absolute highlight of this year’s Brisbane Festival.” — InDaily Queensland

“This theatrical piece is about the power of a rural community, but also the strength of a collaborative theatrical community.” — Stage Whispers

“Writer Katherine Lyall-Watson’s crafting of the script in line with the conventions of verbatim theatre and director Caroline Dunphy’s delicate treatment of sensitive material resulted in a play that was a compact and well-paced powerhouse production.” — Nothing Ever Happens in Brisbane

Boy, Lost (2022)

WINNER: THE LORD MAYOR’S AWARD FOR BEST NEW AUSTRALIAN WORK

Judges Report: “Katherine Lyall-Watson is one of the founders of the all-female Australian theatre company, Belloo Creative. In adapting Kristina Olsson’s award-winning memoir, Boy, Lost, Katherine has created a sensitive theatrical work which not only follows the original true story of one family’s loss and redemption, but places that story firmly in a broader political context. The writing is beautifully modulated, sometimes tough, often poetic, jumping time-zones in a whirlwind of storylines and characters until they settle and draw the audience through to the heart-rending climax.  The play takes us on a journey through difficult topics with far-reaching impact and, rather than offering blame, invites us to consider compassion, self-reflection and the possibility of change.”

"extraordinary stage adaptation which is so brilliantly realised under the expert direction of Caroline Dunphy" — Phil Brown, Courier Mail.

“The cast’s fluid costume changes – signalling the shifts as performers move between roles – showcase the beauty of physical theatre when it’s done well” — Yen-Rong Wong, The Saturday Paper.

“it is a tightly woven and rich true tale that takes its audience along on a moving, emotional journey" — Meredith Walker, Blue Curtains Brisbane: Stories From The Stalls.

"It is very moving to see this true family story turn a very dramatic series of events into a poetic piece that engages you – it never force-feeds – and encourages you to think about other people’s contexts and the background to the institutions that we allowed to develop in our society" — Beth Keehn, Stage Whispers.

“Belloo Creative has created a wonderful and thought-provoking piece of theatre” — Jake Goodall, Theatre Haus.

“fascinating, heartbreaking, and inspiring story” — Gemma Keliher, Theatre Travels.

Rovers (2018-2022)

“This is theatre at its best.” — Australian Stage

“I remain gobsmacked, with lingering scenes, words and music still rattling around my brain. I want to witness it all over again!” — Australian Stage

“under Caroline Dunphy’s direction, the hour-long share of outback tales of trailblazing women flies by as audience imaginations are invigorated and inspired” — Blue Curtains Brisbane

“sincere and completely charming” — XS Entertainment

“Barbara Lowing and Roxanne McDonald are resplendent in Rovers” — Stage Whispers

HANAKO (2016)

“A TOP 10 must see Brisbane Festival Show” — Concrete Playground

“Hanako... represents all that is wonderful about festival works and the rich diversity of theatrical conversation that they generate.” — Blue Curtains Brisbane

“Caroline Dunphy and Katherine Lyall-Watson have created an impressive piece of theatre … An electrically charged, cross-cultural, multi-disciplined journey” — AussieTheatre.com

“Like Belloo’s previous, acclaimed Motherland it sits comfortably in its text, but never forgets the honour of the truth behind mythology, making its World Premiere as part of Brisbane Festival something of which its local, all-female, award-winning independent theatre company should be immensely proud.” — Blue Curtains

“The Belloo team have produced an action packed, fast paced mash-up of rap music, martial arts, fashion and mayhem.” — AussieTheatre.com

“This is a show for the curious and creative alike.” — Blue Curtains Brisbane

Motherland (2013, 2016)

“The best plays sweep you up, visually and emotionally, and drop you down amongst the action. They’re so engaging you can’t escape. They’re so spectacular you don’t want to. The newest production on my Best Plays list is the phenomenal ‘Motherland’. ... High-energy, entertaining and emotionally stirring.” — Weekend Notes

“This new production of Katherine Lyall-Watson’s play is a beautiful piece of work in every possible way. It is a finely crafted script that melds perfectly from character to character, time-frame to time-frame and country to country.” — Absolute Theatre

“Motherland is the most beautifully crafted and intelligently delivered story you’ll see on stage this year. Its passion and fierce beauty will stay with you long after you leave the theatre.” — XS Entertainment

“In your face melodrama” —The Australian

“an impressive tapestry of the human experience” — Douglas Kennedy, Hush Hush Biz