Anna Bolena opera review (Sydney Opera House)

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Opera, Reviews, Stage |
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The jumbotrons are back. After Opera Australia gave Aida a digital makeover last year, with dazzling impact, the dance of the giant tellys returns to the Joan Sutherland Theatre to illuminate another bel canto work. The result is not as easy a fit. But thoughtful directorial moments and thrilling singing elevate a dusty piece of

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So you think you’re a ‘creative’? Not until unless you’re fluent in ‘agency-speak’

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Confused about what a creative industry is? It’s simple: film, TV, video games and digital culture. That’s what the Australian Centre for the Moving Image (ACMI) does and it’s why, three years on from the announcement that the Central Victorian city Bendigo was getting a Creative Industries Hub, the state’s Minister for Creative Industries Martin

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A Little Night Music review (Playhouse, Melbourne)

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Opera, Reviews, Stage |
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A Little Night Music, Stephen Sondheim’s 1973 bodice-ripping musical, has become a favourite of opera companies over the years. And with good reason. It’s not that classically trained voices are necessarily required. Though when they are employed, as here in Victorian Opera’s elegant treatment at the Arts Centre, it makes for a luxuriously lush soundscape.

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Razorhurst theatre review (Hayes Theatre, Sydney)

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Reviews, Stage, Theatre |
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As music theatre opening numbers go, Razorhurst’s is hardly a showstopper. Crime maven Tilly Devine (Amelia Cormack) lumbers around the stage in a pathetic vaudeville display, slow of jazz hand and short of breath, at one point declaring “I’m not doing that” of a more athletic act of choreography. To be fair to Tilly, she

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Sweeney Todd review (Darling Harbour Theatre, Sydney)

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Opera, Reviews, Stage |
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Attend the tale of Sweeney Todd, the chorus sings. And that’s no small feat. Stephen Sondheim’s masterpiece is an Everest musical for any company. It calls for a big orchestra. Big voices. Big emotions, from playful vaudeville to macabre tragedy. Complex staging. Subtle shifts in mood and musicality. There are variations, of course. Bryn Terfel

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Things I Know To Be True theatre review (Belvoir St Theatre, Sydney)

Reviews, Stage, Theatre |
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I hated this play. Watching its premiere at the State Theatre Company in Adelaide a couple of years back, Andrew Bovell’s overripe melodrama had a pungent smell of the worst type of contemporary middle-class storytelling It presented as theatre by committee — which it is; a rehearsal room collaboration between writer, directors and the original

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Gloria theatre review (Seymour Centre, Sydney)

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Reviews, Stage, Theatre |

The fluorescent lights are unflattering. The desks are too close together. The coffee is substandard. And now the photocopier needs paper. It’s grimly familiar, the magazine publishing office tableau of Branden Jacobs-Jenkins’ much-awarded Gloria. And peculiarly nostalgic at the same time — the scene and, in turn, the play. Magazines have had their day, right?

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