Born Yesterday (MTC Southbank Theatre, Melbourne)

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Reviews, Stage, Theatre |
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Did Melbourne Theatre Company artistic director Brett Sheehy foresee something no-one else saw coming six months ago when he programmed Garson Kanin’s 1946 play Born Yesterday to open the night before Donald Trump’s inauguration as US President? The play might be best known for the George Cukor’s 1950 film version with its unforgettable performance by Judy Holliday

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The Encounter review (Sydney Opera House, Sydney Festival)

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Reviews, Stage, Theatre |
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Normally it would be considered impolite to close your eyes for too long at the theatre, but in Complicite’s one-man show The Encounter it could well be a sign that the audience is swept up in the narrative. Once the audience members are seated, they’re invited to don the headphones provided, and experience a range of three-dimensional sounds

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The Testament of Mary review (Wharf 1, Sydney Theatre Company)

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Reviews, Stage, Theatre |
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Director Imara Savage’s production of Colm Toibin’s monologue The Testament of Mary starts with a wonderfully theatrical moment; the kind which you don’t really want the details of spoiled in this review. It’s enough to say that it’s a transformative moment, in which the Virgin Mary changes from an image of the holy and the sublime into one

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SHIT review (Seymour Centre, Sydney Festival)

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Reviews, Stage, Theatre |
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Patricia Cornelius’s play SHIT follows three tough and ruthless women who have never been given any reason to believe they’re anything more than shit. Billy, Bobby and Sam grew up being passed from foster home to foster home, from abuser to abuser, and now they’ve got nothing but violence, and maybe each other. They’re the kind of women

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Which Way Home review (Belvoir, Sydney Festival)

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Reviews, Stage, Theatre |
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Katie Beckett’s first play, written as a tribute to her father, is a beautiful, intimate and often very funny semi-autobiographical road trip tale exploring the bond between an Indigenous father and daughter. Beckett plays Tash, a young woman with mild OCD who takes her father (Tony Briggs) in the car back to his country, in Goodooga, a small

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Cavalleria Rusticana/Pagliacci review (Sydney Opera House, Opera Australia)

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Opera, Reviews, Stage |
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For more than a century, Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci have been performed as a double bill affectionaly known as Cav/Pag, owing to their similar themes of betrayal, revenge and murder. They also share stylistic similarities, being verismo operas (i.e. the post-Romantic realist period, focusing on “real people” rather than kings, queens, gods or myths), and both

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The Season review (Sydney Festival, Drama Theatre, Opera House)

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Reviews, Stage, Theatre |
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Nathan Maynard’s warm and thoughtful new play The Season rings with the truth of real life. Set on Big Dog Island in the Bass Strait, the action takes place during “the Season”, which sees the Duncan family gather from wherever they are in the world and harvest mutton-bird nests. It’s an annual ritual for the Indigenous people of

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Briefs: The Second Coming review (Sydney Festival)

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Reviews, Stage |
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Fez Fa’anana’s all-male, Brisbane-born cabaret/circus/burlesque show Briefs has become a bit of a sensation both at home and abroad in recent years, winning rave reviews around the world and a devoted following. On my first Briefs experience, it’s plain to see why: in a rather crowded landscape of this kind of adult variety show, Briefs takes a left-of-centre approach, not just because of

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