Sydney Reviews
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- Jodi McAlister
Kids Killing Kids is an absolutely fascinating piece of meta-theatre. It turns out it is possible to tell a scintillating story about storytelling.
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- Penny Spirou
The music has lasted the test of time since its debut in Melbourne in 1972, its first production outside of America, which makes this one a sure-bet stage musical.
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- lloyd bradford (brad) syke
Katz and Russell make a devastating duo and I can't imagine any better way to take a headlong plunge into the Rhine, or walk along its banks.
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- Jodi McAlister
John Romeril’s searing exploration of PTSD and survivors’ guilt is almost alarmingly current in a climate in which young Australians are still going to war.
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- Rebecca Whitton
Following the enormous success of Medea last year, Kit Brookman has turned to one of the most enduring myths exploring the psychological complexities of family dynamics. Small and Tired is a study of grief within a family, loosely based on the tragedy of Agamemnon and his family.
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- Rebecca Whitton
Who but the very tired and jaded can resist the giddy frisson of young love? With the combination of romance, idealism, prejudice and tragedy delivered with glorious poetic language, Romeo & Juliet has rightly been a great favourite with audiences.
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- lloyd bradford (brad) syke
If you've ever been to a convention, conference, congress, colloquium, seminar, tutorial, brainstorm, workshop or breakout session, you'll have something to laugh at, somewhere between the mission and vision statements.
Most read Sydney reviews
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A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
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There’s a palpable playfulness to these performances, disciplined, drilled and delightful. There’s fire, bite and fun and lots of kissing.
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Wit and beauty, pride and sorrow, self disgust and merriment
My Brilliant Career | Sydney Theatre Company
Based on an Australian literature classic, My Brilliant Career is destined to become an Australian theatrical classic.
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Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
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