Latest Reviews
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Despite committed characterisations from the cast, Mark Colvin's Kidney feels like a mismatched transplant, a graft of verbatim on to a more traditional dramatic narrative which, at the end of the two hour operation, the host rejects.
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It not only imitates life, it penetrates the emotional heart of a terrible trauma, re-enacts it, and universalises it in one of the most direct acts of catharsis I have ever seen.
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Kosky’s Saul at the Adelaide Festival paves the way for future baroque opera production in Australia.
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From the very opening – a sparkling and glittering party, with very loud music on the sturdy industrial set with monochrome projections flashing about – it was clear that this was going to be different.
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The idea of getting your kit off to earn some money is, it has to be said, not an original one. Ask a zillion women since clothing was first worn.
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Utilising a talent base of actors with disabilities, Back to Back Theatre aim to create contemporary performances based on the experiences and imaginings of participants and, in the process, devise works that hold more universal truths.
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Bell Shakespeare’s latest production of Richard 3 is something of a jumble. An uninspired staging of one of the great plays of the canon, redeemed if not entirely rescued by the strong central performances of the major female leads.
