Stage Rigoletto review (Sydney Opera House) Lloyd Bradford Syke If it weren’t for Victor Hugo, there’d be no Rigoletto. His 1832 play, Le Roi S’Amuse (translation is variable, but …
Music, Stage Otello review (Sydney Opera House) Lloyd Bradford Syke Verdi, we might surmise, was a somewhat vain man who might’ve fit in well with the hyper-narcississtic milieu in which …
Stage Richard III Review (Ensemble, Sydney) Lloyd Bradford Syke The real Richard III was king of England for just two years, thanks to being cut down in his prime …
Stage The Violent Outburst That Drew Me to You (Griffin Theatre, Sydney) Lloyd Bradford Syke Siren Theatre Company, Griffin Independent and InPlay Arts have sought an aesthetic and emotional snapshot of puberty with The Violent …
Stage Ruthless! The Musical review (Seymour Centre, Sydney) Lloyd Bradford Syke Good things come in small packages. I’m not sure who said it originally, but it certainly pertains, not least to …
Stage The Factory review (Riverside Theatres, Parramatta, Sydney) Lloyd Bradford Syke The Factory’s been kicking around Aotearoa for a while. So its arrival, this side of the Tasman, is a cogent …
Music, Stage Hilary Cole, O.C.Diva review (Hayes Theatre, Sydney) Lloyd Bradford Syke Hilary Cole can solve the Rubik’s Cube in a minute flat. But that’s not her biggest claim to fame.
Stage Like a Writing Desk (Radio National play review) Lloyd Bradford Syke Aden Rolfe’s Like A Writing Desk hovers somewhere between mockumentary and a straight radio play. The title alludes to Lewis …
Stage M.Rock review (STC Wharf 2, Sydney) Lloyd Bradford Syke I’m not quite sure how writer Lachlan Philpott latched onto Ruth Flowers, aka Mammy Rock, the world’s oldest DJ.
Stage Winter review (Old 505, Sydney) Lloyd Bradford Syke Norway seems the remotest of countries to me: almost as mysterious as any on Earth.
