Latest Reviews
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A dystopian world in the not-too-distant future. No music. No singing. No dance. In Brittanie Shipway's Senser, everything related to music, song and dance is considered contraband. A sin.
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What a joy. Pure joy. As the last song played us into the night, "wish I knew what you were looking for... might have known what you would find." The audience knew they had found pure gold.
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The double helix of race and gender discrimination is enthrallingly explored in Anna Ziegler’s Photograph 51, the story of Rosalind Franklin, and her pivotal role in unlocking the structure of DNA.
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Dance, itself, can be described as impermanent. The body moves a particular way in space and then it moves on. Each unique moment flickers away as soon as the next one appears.
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A bare stage with a covered table and a chair, sheets of paper scrunched up in angry origami littering the floor. It’s a simple image that softly, surely becomes part of the narrative .
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Taking its starting point from a theatre production staged just after the second world war by Chinese workers at Bulimba dockyards, this play traces the story of a group of six men who had to flee China after the Japanese invasion in the 1930s.
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A collaboration of epic proportions. So the program describes the process of creating this beautiful, powerful recreation of the central love story of Homer’s Iliad; a process of blending and interweaving the innovative creative powers of two amazing theatre companies. It is not an exaggeration.
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Time might have forgotten them but this stage performance reminds us the wives were all once very much alive. They had stories to tell, secrets to whisper. Before they were royalty they dreamt of how it would be, just as you and I would have done.