The Taming of the Shrew
Sydney productions of The Taming of the Shrew have been few and far between in recent years. Although a highly entertaining yarn, the reason for its scarcity is doubtlessly the play’s problematic gender politics.

Nigel Kellaway
Kellaway clearly adores the music, and nearly every time it plays his body takes over in a full-body conducting dance.

An Italian Straw Hat
The pace of the play is downright frenetic, with actors entering and exiting at both ends of the stage, which ran between two banks of audience seats.

DasSHOKU Hora!!
Energetic; confronting; confounding; confusing; challenging; comical; spectacular.

These femme fatales probably don’t have a destructive effect on anyone but themselves; subject, as modern women are, to a relentless barrage of self-critical thoughts and self-effacing remarks.

Romeo and Juliet
Matthew O’Sullivan has directed a very solid production of Romeo & Juliet for the Globe Centre, using pared-back staging that relies on performance and using his comparatively small but enthusiastic cast to good effect.

This Is A Play
Double bills such as this one can be a real delight, a welcome deviation from one’s theatregoing expectations.

Circus Oz
What sets Circus Oz aside from other new circuses, such as Cirque du Soleil, is their down to earth, Australian colloquial style that makes the performance all the more accessible.

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