Queenie may be a distinguished and distinctive cabaret and musical theatre performer, but her alter ego, Jan, must surely be Australia's, if not the world's, premier music therapist.
Yes, it's got a motive. And a premise. A heart. A conscience. An unbifurcated soul. But the outcome is so busy and buzzing with words and doublespeak it becomes virtually unintelligible gibberish, a kissing cousin of the very poppycock it's heat-seeking to torpedo.
Yasmin Levy is a passionate woman. But not in an overt way. If passion can be understated, hers is. She isn't bursting an appendix, a la Joplin, to get her music, or her meaning, across. Hers is a meticulously measured delivery.
By interval, it was raining steadily. Eery. A Steady Rain, currently playing at Tap Gallery Theatre (which, at this time of year especially, is akin to an airless hell), is presented by Cathode Ray Tube in its Australian premiere.
The production of Rameau's Castor and Polluxmarks a new phase in Pinchgut's development, acknowledging that staging and spectacle are also an important part of opera of any age.
While Bonachela’s work is, as always, dreamily lovely, for me the highlights were absolutely the three commissioned choreographers: Azzam Mohamed, Jenni Large and Raghav Handa.
While Bonachela’s work is, as always, dreamily lovely, for me the highlights were absolutely the three commissioned choreographers: Azzam Mohamed, Jenni Large and Raghav Handa.