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.
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.
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.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
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.