Cat On A Hot Tin Roof (Roslyn Packer Theatre, Sydney)

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Reviews, Stage, Theatre |
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Toto, I’ve a feeling we’re not in the Mississippi Delta anymore. There’s not a cotton plant in sight. It’s all glass, marble, flat screens and sleek Scandinavian furniture in Sydney Theatre Company boss Kip Williams’ revival of Cat On A Hot Tin Roof. Big Momma’s European shopping spree has produced a strange modernist aesthetic (set

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When one art form tumbles into another: Paul Dyer and Yaron Lifschitz on English Baroque with Circa

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The Australian Brandenburg Orchestra and Circa’s third collaboration, English Baroque with Circa, opens the Canberra International Music Festival tonight before visiting Sydney, Melbourne and Brisbane. Anders Furze talks to artistic directors Paul Dyer and Yaron Lifschitz. Recently, Paul Dyer, the irrepressible artistic director and co-founder of the Australian Brandenburg Orchestra, found himself hanging upside down on a trapeze. “There I

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Postcard from Dance Massive 2019 (Melbourne)

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Dance, Reviews, Stage |

Humphrey Bower reviews the following shows from Dance Massive held at various venues in Melbourne, March 12-24: Luke George and Collaborators, Public Actions Atlanta Eke, The Tennis Piece Stephanie Lake, The Skeleton Tree Marrugeku, Le Dernier Appel/The Last Cry Joel Bray, Biladurang Russell Dumas, Cultural Residues 2020  * How can dance intervene in the world? And

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Mosquitoes review (Drama Theatre, Sydney Opera House)

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Reviews, Stage, Theatre |
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How did a precociously young British woman become one of the most performed contemporary playwrights in the English language theatre? Almost exclusively through merit, it must be said, so you can’t blame the Sydney Theatre Company for serving up a third Lucy Kirkwood play in as many years, following Chimerica in 2017 and The Children

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Single Asian Female review (Arts Centre Melbourne)

SAF_Courtney Stewart, Hsiao-Ling Tang, Jing-Xuan-Chan_Photo Dylan Evans_for MTC
Reviews, Stage, Theatre |

When Michelle Law’s semi-autobiographical play Single Asian Female debuted in 2017, it was celebrated as a potential game-changer, remarkable in that its three main female characters were all Chinese-Australian. It was an acknowledgement of the fact that seeing yourself reflected on film, on TV, on stage, isn’t just some vanity exercise. It’s powerful, it’s validation,

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