Sydney Reviews

Details: Rebecca Whitton; 10 February 2007

Stephen Sewell’s new play, The Gates of Egypt is a clarion call to extend ourselves beyond our individual temporal concerns and act within a larger moral framework.

Details: Sarah Doyle; 07 February 2007

Bubbling with bouncy banter including every ludicrous Aussie-vernacular-cliché under our collective sunburnt brow, The Glass Boat loosely themes itself on time-travel, Christmas and a mental institution.

Details: lloyd bradford (brad) syke; 27 January 2007

That Eva’s been dancing since 12 should surprise noone, since she does it with such consummate self-assuredness: while I’m gasping, in anxious anticipation of a fatal error, she’s dancing her heart and soul out.

Details: lloyd bradford (brad) syke; 27 January 2007

An 18-year-old Carmen?! A 15-year-old Escamillo?! (Indeed, all the cast was well under 30.) Unheard of! Sacrilege! Yet, it worked a treat!

Details: Selma Nadarajah; 25 January 2007

The beautifully delicate crooning of Madeleine Peyroux, weighted with pained honesty of heart ache, loneliness and yearning, seems to be more suited to a more intimate venue rather than the vast space of the State Theatre.

Details: Aleksei Wechter; 24 January 2007

Yohangza Theatre Company, has not produced a traditional treatment of the play. Bearing from South Korean, they have infused the production with Korean mythology, theatrical techniques and an Eastern sensibility.

Details: Sarah Doyle; 24 January 2007

‘Total theatre’ will only work if all elements are strong, and indeed Meryl Tankard’s direction, choreography and design in Kaidan: A Ghost Story brings an explosive fusion of art-forms.

Details: Rebecca Whitton; 16 January 2007

Lost and Found Orchestra, presented at the Sydney Festival by highly regarded British theatrical music company, The Stomp Company, is as joyful as it is inventive, as accessible as it is complex and as entertaining as it is original.