Sydney Reviews
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- Richard Cotter
From anthropology to cosmology, Knots’ narrative threads science through the needle of emotion and ethics, stitching stories of individuals into the tapestry of a bigger picture.
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- Jack Teiwes
Perhaps one of the most-adapted works of children’s literature, possibly of literature in general, Lewis Carroll’s Alice’s Adventures in Wonderland seems like material ripe for adaptation to ballet.
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- Richard Cotter
‘Tis the season to be jolly, and The Ensemble ends its 2017 season with a jolly production of Alan Ayckbourn’s silly-arse farce, Taking Steps.
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- Nicholas Routley
It is difficult to overstate the magnificence of the opera itself. Faster-moving than Mozart, more true to prevalent theories of drama than Wagner, and without later imitations in almost any respect, it is one of the truly great combinations of music and theatre.
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- Nicholas Routley
Bartok’s one-act opera, Bluebeard’s Castle, is a post-Freudian re-working of Charles Perrault’s Barbe Bleu (1697) in which the doors in the castle become the doors into Bartok’s heart.
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- Richard Cotter
Six songsters – three male, three female – consort in concert to present Christmas carolling as a medieval nativity narrative in The Song Company’s swansong for this year, Lully Lulla.
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- Richard Cotter
Nick Hornby’s novel, High Fidelity, first morphed into a Stephen Frears film, then into a Broadway musical, ten years after its publication. It’s taken a further decade to grace the Hayes Theatre with a rollicking, rocking boy meets girl, boy loses girl, boy reflects on his previous break-ups, and sings and dances us to a happy ending.
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- Richard Cotter
Audiences all let us rejoice for plays like Australia Day; the script is golden soil that gives wealth for toil by labourers in the playground of the New Theatre.
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