
Unfortunately, I don’t feel that this production has done justice to Gibson’s script.

Strong singing and enjoyable broad physical comedy rescued the opera from its weaker elements, in what is undoubtedly a very accessible interpretation of Puccini’s work.

Cullen’s play masterfully demonstrates just how little has changed since Henry Lawson began to explore Australian nationalism in the late nineteenth century, but far more than that; it tells the moving story of one of Australia’s favourite sons.

Growing old gracefully - that’s got to be a cliché up there with ‘can’t teach old dogs new tricks.’ Fact is, both of those statements are wrong, as proved by the insightful play Codgers, which is like watching a wise man’s fireside tale come to life.

From the rigid, unforgiving box set, to the delicate simplicity of its marvellous performers, to Michael Gow’s unassuming dialogue, the play is replete with this marvellous juxtaposition of natural simplicity with deep pathos.

In Richard III, Shakespeare has left us one of the greatest challenges to the willing suspension of disbelief ever created.

So, is this show an over-hyped Victoria’s Secret runway rip-off or thought-provoking performance art?