While every effort has been made, no doubt, to fully explore characters' lives, the chain of relationships, separated by a mere six degrees, seems somewhat inconclusive and unsatisfying.
Aside from one too many references to cricket, this is a very well-observed and well-written piece, or, rather, pieces; comprising three vignettes, with the three cast handling three roles apiece.
Red Light Winter deals with the seriously dysfunctional romances of a small group of thirtysomethings, with an emphasis on sex and emotional inadequacy.
Sydney productions of The Taming of the Shrew have been few and far between in recent years. Although a highly entertaining yarn, the reason for its scarcity is doubtlessly the play’s problematic gender politics.
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.
Blind faith and rational belief are always sparring partners in dramatic conflict and so it is here with the power play tinged with superstition and salaciousness.
Contradiction, conundrum, conflict, racism, misogyny and homophobia run through this play like a main circuit cable snaking through a moral minefield of explosive allegation.