“Jazzara Jaslyn and Sanda Shandu are the play’s unnamed protagonists and their individual and collective performances speak of great talent, but also superb casting and tight, careful, empathetic direction by Bianca Amato.”

Bruce Dennill

“Staggeringly good… Lungs is expertly rendered theatre, directed by a pro.”

Rich Poplak, The Daily Maverick,

LUNGS at Theatre On The Bay is Like a Runaway Train You Want to Be On:

‘LUNGS has been described as "off-kilter" and "brutally honest" - and that's exactly what you get with this production... There's an element of a runaway train to the piece, but it's a train I want to be on…The chemistry between Sanda Shandu and Jazzara Jaslyn is tangible…LUNGS is definitely a show to watch!’

Faeron Wheeler, Broadway World

‘Excellent script, performances, design and direction…infused with mirth and satire...Sanda Shandu and Jazzara Jaslyn are magic......Bianca Amato as director superbly orchestrates and tempers the verbal duelling with the physical thrashing on the stage. I was entranced …....Lungs is a must-see…’

Robyn Cohen, The Cape Robyn.

‘From the very first moment of this utterly charming two-hander I was disarmed, drawn in, seduced, enchanted and ultimately blown away… ..Fresh, funny, sharp, poignant…Jazzara Jaslyn is sublime...(a) masterclass in performance… Sanda Shandu is fantastic...And the magic between the two of them is palpable…Bianca Amato has done a superb job of directing this piece. She has managed to develop the pace and build of the story with great subtlety, and she has created a palette of deeply funny and incredibly moving moments…A complete gem of a theatrical experience..’

Megan Choritz, Weekend Special

Thoughts on LUNGs from Duncan Macmillan: “(I wanted to) write a play that was direct, clear, fast, fun, and most importantly, stylistically more pared-back. I wanted to write something for two really good actors where they could tell a story unmediated by props, scene changes, costume changes, mime, lighting or sound queues, just two bodies in space, letting the audience fill in the gaps. It seems appropriate somehow that the play is as “carbon-neutral” as possible. I also felt that the playfulness of the form would help to make some of the more troubling issues more palatable. I wanted the audience to feel as if they were eavesdropping on a very private conversation between two thoughtful, educated, middle-class people who are struggling to do the right thing. I wanted to write a play which was dramatically active but where the narrative isn’t compelled by unraveling a lie or a secret. For me, drama is about live decision making. There are no secrets, everything pours out of them, uncensored, impulsive, raw.