Sydney Reviews

Details: Nicholas Routley; 14 October 2012

This production, supported by a very strong cast, is really thought-provoking, and a must for lovers of Strauss.

Details: Jodi McAlister; 12 October 2012

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Between Two Waves is a gorgeous piece of theatre. It is the kind of theatre that makes you feel rather than think, the kind of theatre that bypasses your brain and gets you in the soul. It is artistic, evocative, and moving.

Details: lloyd bradford (brad) syke; 11 October 2012

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It's not the sort of play that slaps you across the face like some kind of epiphany. It's the sort you take away and sink your teeth into, like a late-night kebab. Like the kebab, you'll get your hands dirty. And you'll spend hours, if not days, digesting it.

Details: Penny Spirou; 11 October 2012

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Legally Blonde is so full of joy it's hard to leave the theatre without a giant grin on your face.

Details: lloyd bradford (brad) syke; 06 October 2012

It's no wonder The Criminals is regarded as one of the most significant Latin-American plays of the last century. And you'd be hard-pressed to find a more intense, provocative, or confronting production.

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Details: Helen Barry; 29 September 2012

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Twitter. Facebook. Blogs. Wi-Fi. Trolling. It wasn’t long ago that these weren’t even words, let alone predominant forces governing our lives. We are evolving, but into what?

Details: lloyd bradford (brad) syke; 28 September 2012

Those fossils old enough to remember the cabaret heyday of Reg Livermore are likely to find a resonant nostalgia in Tommy Bradson. But while Reg played an unbelievably solid eight-month season at the Balmain Bijou in 1975, with Bradson it's a case of 'where've you been all our theatrical lives?' We like to think of ourselves, I suppose, as increasingly sophisticated and permissive, yet Reg was rockin' 'n' shockin' the mainstream in a way that's rarely possible today. So, in short, we're bloody lucky to have Bradson and Sweet Sixteen (or The Birthday Party Massacre).

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Details: Helen Barry; 28 September 2012

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This is a trailblazing Belvoir directorial debut for the company's young-gun artistic director Ralph Myers. "It's a frowsy business, marriage," Elyot tells Amanda as the two contemplate giving the whole shebang another whirl, for old time's sake; but there's nothing even slightly frowsy about this fiercely funny redux of a rip-snortingly brilliant British classic.