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 Mistress, Black Magic, Adultery and a King with an anal fistula. This music theatre production appears to have it all, but the sad truth though is that despite some genuinely decent performances from the ensemble the piece as a whole was lacking.
Contradiction, conundrum, conflict, racism, misogyny and homophobia run through this play like a main circuit cable snaking through a moral minefield of explosive allegation.
Following the unedifying edict that "there's a sucker born every minute", the show skewers the modern self-improvement economy in a piss-take parody of today's 'gurus' and snake-oil salesmen.