Review: Rothar at the Sydney Opera House

Review by Kate Gaul

Child’s play in the very best sense, “Rothar” is an imaginative bicycle adventure from Ireland that proves wonder can be built from simplicity, ingenuity, and trust in young audiences. “Rothar”, by the way, is an Irish (Gaeilge) word that means “bicycle.”

So, the little bike shop at the end of town, a world of adventure awaits - and from the moment the lights come up, the audience of youngsters is completely engaged. There is instant laughter, the kind that bubbles up when children sense they are in safe hands. “Rothar”, presented by Branar, is pitched perfectly for its audience: playful without being frantic, imaginative without being overwhelming, and confident enough to let moments unfold at a child’s pace.

Miquel and Moisés arrive for work at a modest bicycle repair shop. There is no exposition, no spoken explanation of who they are or where we are. Instead, the story emerges through action. As the two set about their day, the space gently transforms into a workshop of the imagination. Using objects found in the bike shop, the performers begin to create worlds far beyond its walls, inviting the audience to travel with them purely through play.

Largely non-verbal, “Rothar” relies on physical storytelling, visual invention, and an acute understanding of how children read movement and rhythm. The comedy is gentle and generous: a wobble, a misjudged balance, a moment of shared concentration that tips into delight. Giggles, gasps, delighted recognition – and even advice - ripple through the theatre as each new idea reveals itself.

The imaginative journeys are conjured with remarkable economy. A beach (or paper) appears, its breeze and waves suggested through movement, sound, and light. Soon after, we slip underwater, where the performers’ evocative physicality evokes drama without ever spelling it out. Later, the space becomes a circus tent, wheels spinning into daring feats and familiar mechanics turning into acts of risk and bravado. Each transition feels surprising yet entirely logical within the world of the play.

One particularly inspired stroke is the inventive use of a leaf blower and it really pays off. Employed with precision and restraint, it becomes a tool of transformation rather than chaos, creating moments of heightened spectacle that draw audible delight from the audience without tipping into sensory overload. It is emblematic of the production’s overall approach: playful, inventive, and always controlled.

Branar’s design is deceptively simple, allowing imagination to do the heavy lifting. The music and lighting are beautifully calibrated for young audiences — evocative and atmospheric but never frightening. There are no sudden shocks or looming darknesses here; instead, the soundscape and lighting shifts guide the emotional journey with reassurance and clarity. This careful attention to tone makes “Rothar” especially welcoming as a first theatre experience, while still holding enough sophistication to engage adults in the room.

The relationship between the two performers anchors the fantasy. Their dynamic - cooperative, competitive, affectionate - is instantly legible and deeply human. Without words, we understand their disagreements, their shared triumphs, and the joy they take in making things together. It is this emotional clarity that allows the show to travel so fluidly between imagined worlds without losing its audience.

Produced in association with Drama at University of Galway and Baboró International Arts Festival for Children as part of the Creative Europe Mapping Project, “Rothar” arrives in Sydney with strong international credentials. Supported by Sydney Festival and Culture Ireland, it feels both polished and wonderfully intimate.

“Rothar” is a celebration of imagination, collaboration, and the sheer pleasure of play. Come on a bicycle ride through the imagination - and rediscover how thrilling it can be to see the world anew.

Image Supplied