Sydney Reviews
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- Matt O''Neill
A genuine concern that arises over the course of the production is that Frayne simply hasn’t figured out how to translate his considerable skill and imagination to an arena environment.
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- Nicholas Routley
The score is complex, profound, and at the same time has a mercurial quality that very few opera composers besides Mozart and Britten have ever achieved.
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- Matt O''Neill
Dads is (mostly) an impeccably crafted and remarkably sophisticated piece of work – stylistically daring, consistently well-crafted and fundamentally relatable.
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- Jack Teiwes
A good French farce ticks away in perfect order like a finely crafted Swiss watch… even if it may seem by the halfway mark like someone threw this watch down a flight of stars and then started to bludgeon it with a sledgehammer.
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- Jack Teiwes
If you have not attended a Bell Shakespeare production before, or haven’t seen one in a while, this rendition of one of the Bard’s most popular plays is a good example of their bread-and-butter staples of modern popular staging.
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- Jack Teiwes
From the acclaimed and recently departed Irish playwright Brian Friel comes this engrossing play starring three of our stage’s finest actors.
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- Richard Cotter
Stephen Carleton’s play carries a colourful name, The Turquoise Elephant, but it is the darkest of comedies, coal black, a fatalistic farce about embracing and claiming catastrophic climate change as a grotesque status symbol.
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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.