Music has the capacity to bring everyone together under the same flag; the same nation of appreciation: yes – we are all linked when the first strum of the guitar, banjo, ukelele, bass, fiddle (get the drift?) reaches our ears.
Every so often a show comes along that defies your preconceptions and exceeds your expectations to such an extent that it leaves your head spinning.
Semen, sweat, blood, and other bodily secretions are given voluminous verbiage, the vernacular of the carnal given full sway in what is mostly a flagellating footlights experience.
At turns so hilarious that it will test your bladder control, heartbreaking enough to make you cry, and so squirmingly cringeworthy as to make you break out in hives from vicarious mortification.
Sometimes contentiously counted by certain scholars as among Shakespeare’s so-called “problem plays”, The Merchant of Venice is indeed one of the most challenging works in the Bard’s canon for modern audiences.
A dwarf review for The Wharf Revue just wont do, but without succumbing to spoilers, a short, sharp review of this short, sharp REVUE should give an unabashed thumbs up.
This show is gentle little rollercoaster, brought to life by a truly excellent cast.
Toruk itself is quite an astonishing show. Set on Avatar’s alien world of Pandora before contact with the human race as portrayed in the film, the whole cast of this production only ever appears in-character, as members of the blue-skinned, faintly feline race of humanoid aliens, the Na’vi.