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Ear to the Edge of Time theatre review (Seymour Centre, Sydney)

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Reviews, Stage, Theatre |
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Sydney is currently presenting a study in feminist theatre in two parts. In two theatres. At Belvoir St, an adaptation of Henrik Ibsen’s An Enemy Of The People, from an all-female creative team, taps into the #MeToo movement through a contemporary rewrite and canny gender swap, turning the whistleblowing protagonist into a target of male

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An Enemy of the People (Belvoir, Sydney)

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Reviews, Stage, Theatre |
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To contemporise a great classic of the stage is one thing. To turn it into a state-of-the-current-nation play is quite another. Henrik Ibsen’s An Enemy Of The People has always been about power, truth and morality. Which is why indolent directors have long reached for it on the shelf in times of heightened anxiety. But

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Horror review (Sydney Opera House)

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Reviews, Stage, Theatre |
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I see dead people. This time in the flesh, live on stage. The real trick of Horror, a theatrical homage to silver screen scares, is that there aren’t really any tricks at all. At least of the Hollywood kind. Everything you see is real, thanks to some elastic humans and eye-popping stagecraft. It comes from

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Calamity Jane theatre review (Belvoir, Sydney)

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Reviews, Stage, Theatre |
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What more to say about Calamity Jane, the darn-tootin’ musical hit that rode into Belvoir St Theatre last week after its much-loved (and previously reviewed) Hayes Theatre run last year? The same all-singing, all-dancing, all-winking production that restores a beloved film into multi-dimensional technicolour. Corralled quite brilliantly by Richard Carroll, with terrific choreography by Cameron Mitchell.

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The Harp in the South theatre review (Roslyn Packer Theatre, Sydney)

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Reviews, Stage, Theatre |
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One family, three decades. Two weddings, four funerals (an alternative title, perhaps, wisely scuppered). At least that’s my count. After a day of immersion in multi-generational family melodrama, one can lose track of the numbers. And all the numbers here are dauntingly large. Two plays, adapted from three novels. A little over six hours in

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The Turk in Italy (Sydney Opera House)

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Opera, Reviews, Stage |
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And now, a change of pace. After three brooding operas this cold Sydney winter – a staid Lucia Di Lammermoor, a sombre Rigoletto and a dazzlingly dark Aida – levity arrives in the form of one of Gioachino Rossini’s least remembered operas. The Turk In Italy is little performed for some good reasons. But this

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Torch Song Trilogy (Eternity Playhouse, Sydney)

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Musicals, Reviews, Stage |
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Finger clicks to Sydney’s newest jazz club, the Eternity Playhouse, which is gently swaying to some very smooth sounds. The American songbook – Gershwin, Porter, Holliday and the like – is in the capable hands of top-rate crooners channelling love and loss in the smoky, dimly lit confines. Which would be a great night out

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Aida opera review (Sydney Opera House)

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Opera, Reviews, Stage |
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Blood-red clouds swirl apocalyptically overhead. A black panther with piercing green eyes stands warily close by. A gold-plated serpent is charmed to coil around the crowd and bare its fangs. Or is it all a dazzling mirage? No surprise in an opera set in the deserts of ancient Egypt, especially one as tricked out as

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