Stephen MacDonald’s play is comprised of predominantly, and richly, imagined details of a legendary meeting of minds and souls: those of English poets, Siegfried Sassoon & Wilfred Owen.
A play about life, love and politics, Hannie Rayson’s Life After George is a tale of the intertwined stories of some intriguing but ultimately flawed characters.
It’s the tail end of the roaring 20s; machines are coming of age, romance is dying (or is it?), but cigars are still hand-rolled with love and dedication in a small family factory in Tampa, Florida.
Not Nicole Kidman on anatomic steroids, but the love child of Ethel Merman and Ernest Borgnine, diva extraordinare Varla Jean Merman brassily boasts a treasure chest of cabaret mayhem.
A woman and two men enter the space. She strips down to her underwear, and the men begin to move around her, adding and subtracting things from her mannequin-like body.
Steeped in meta-theatricality, A Mirror prompts us to reflect on the status of storytelling, of its place in creating a culture, its manipulation into myth, its power to prick and to prod.
Young, O’Neill, Ionis, and indeed every member of the orchestra understood how to let this music crack open the psyche, yet hold us there in ways that can transfigure our souls.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.