The audience was lively with anticipation as they waited for the curtain to lift at Sydney Opera House on Bluey’s Big Play, the theatrical adaptation of the children's television show.  

Inspired by the seminal rock album of the same name by seven-time Grammy Award winner Alanis Morissette, Jagged Little Pill is a three hour plunge into opioid abuse and addiction, sexual abuse and porn addiction, work/life balance, and identity politics.

Pinchgut’s production of Platée is a banquet for the senses. It is also a milestone in its history of 20 years of productions, a glittering success even by their own standards.

After twenty-one years with the Sydney Theatre Company, the Wharf Review has jumped ship, so to speak, dropping their anchor of satirical rancour and mooring at the York Theatre in the Seymour Centre.

Hotter than Hamilton, cooler than Come From Away, Merrily We Roll Along is the just the ticket to verily roll away those lock-down blues.

It is a skewed symbiosis that unravels before the audience as the interaction between such strong characters carries us all on their treacherous verbal ride, the banter between the two protagonists is unyielding.

Behind every name is a story, or is it ‘behind every story there is a name’?

A feminine counterpart to Krapps’s Last Tape, but funnier, and arguably less dour, Happy Days is happier, with wishful wisps of hope and a wistful whisper of nostalgia.

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