
The Australian Shakespeare Company is highly regarded for creating experiences rather than simply productions, and Wuthering Heights is no exception.

The result is a kind of reality TV social experiment in which the audience is allowed to move freely between the auditorium and the stage.

Farce requires meticulously plotted jokes pulled off with perfect comic timing by the actors. A good farce is a rare beast indeed.

The bill states that it's a satirical cabaret fantasy. In reality, it's simply indecisive of its purpose, and the result is a tonal dissonance.

This innovative performance meshes notions of concert piano music and art song with explorations of erotic poetry.

I get the feeling that Finkelstein tells this story as a kind of atonement; and it’s not so much a punishment or confession as it is a reminder to himself and to us that we really are responsible for each other.

What’s compelling about the work is watching three world-class creatives interact with such precision, invention and, frankly, joy.