In 2010, Post (Zoe Coombs Marr, Mish Grigor and Natalie Rose) “embarked on a journey to find out which one of us is the best. We devised a system, defined our criteria and started tallying our scores.”

I bought tickets to this show – on the closing night – two reasons why I don’t HAVE to write about it – but I will. Not for any other reason other than I am the second most stubborn person I know… or perhaps it’s because out of the three reviewers I read online I maybe coming first in ambition… or maybe I’m simply the best.

Such a question is such a complex one – delving into the absurd and bizarre ranking we subject ourselves to, especially in the arts. And the torture of analyzing the qualities of a person, their worth, their ambition and their courage and even aesthetic qualities are – seem confusing and endless. This constant ranking really dissolves into a befuddling mess- our preferences swing between the three personas… and we are forced to confront our values.

Punctuated by synchronised dance and large satin curtains dragged across the stage (sometimes just for the pure joy of seeing the curtain shift across the stage) – Who’s The Best is as celebratory as it is confessional. For every victory or strength there is a loss or a weakness… and the futility rings true.

The marvelous thing about this show is how united Post as performers are, in voice and tone and rhythm. a tri-headed organism – sharing differing perspectives, tastes, ideas and backgrounds and yet united by their body of work.

Interestingly the STC have started to reach out into the industry and show a curiosity or investment in the living breathing theatre culture in Australia – and it is indeed fantastic to see different practices represented on stage and well resourced. However, one punter said to me how they felt that there was something missing in this work by post as opposed to their other shows – and the obvious answer there is the fact that Natalie Rose was not actually performing but Eden Falk stood in her place. But perhaps what was missing was the DIY, gritty, bump it in yerself feel to the show. Perhaps it was the fact that it was so beautifully presented that their daggy dancing interludes seemed to be even more pathetic in context of the giant stage… perhaps the intimacy is gone? I don’t know… I am not familiar enough with their work to comment.

But the idea that independent theatre/alternative arts needs/requires/demands an element of struggle in order to be it’s authentic self is, I think an interesting one. Do artists thrive under limited resources? If artists had infinite resources would they be the best – or would it all implode? Can you have too much of a good thing?

Hmmm… let’s take it to an audience vote….