Sydney Reviews

Details: lloyd bradford (brad) syke; 13 August 2012

Equator launched last Thursday, with a focus on 'Afrika', featuring two of Sydney's most explosive acts, sourced, or partly so, from that continent: AJ Davita and Keyim Ba.

Details: Jodi McAlister; 12 August 2012

Underneath it seems strangely hollow, not repressed but empty, with character, plot, and motivation becoming a little confusing.

Details: Jack Teiwes; 12 August 2012

The characters are engaging, the pace is tight, the largely conflict-devoid WWII setting is glamorous, the dialogue is funny and the romance is, for the most part, appealing. But the songs are what really sell it.

Details: Nicholas Routley; 10 August 2012

Simone Young conducts Wagner lovingly, indeed passionately, without a trace of bombast, and with a rhythmic plasticity which always serves the expression.

Details: Nicholas Routley; 03 August 2012

Angelich announced, from the first gentle entry after the stormy opening tutti, that nothing would be extreme, that he would allow the lyricism and tenderness of so much of this concerto to soften its more tempestuous moments.

Details: Helen Barry; 23 July 2012

This is a beautifully conceived, immaculately executed production. Tim Draxl is sighably sublime as Chet.

Details: Rebecca Whitton; 21 July 2012

The Seafarer | O’Punksky's and Darlinghurst Theatre

In McPherson's play the characters still have faith but have lost the moral fortitude to live honourable lives.

Details: Jodi McAlister; 21 July 2012

Bell Shakespeare's The Duchess Of Malfi is an absolute tour de force. John Bell and his team have taken Webster's Renaissance text and exposed the raw, visceral, tragedy at its core. It is totally, utterly electrifying.

Most read Sydney reviews

Dancing at Lughnasa | New Theatre
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.
The First Murder | Pinchgut Opera
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.
Izzard: The Tragedy of Hamlet
To Shakespeare’s text be true is the obvious goal here, and writer, director and actor have each scored.
Dirty Rotten Scoundrels | Redfern Lane Productions
Unabashedly and unapologetically entertaining, Dirty Rotten Scoundrels delights in its hoax hokum, a whimsical hustle of musical comedy bustle.
Continuity | New Theatre
On the set of a big-budget Hollywood eco-thriller, the clock is ticking for an on time and under budget wrap.