Articles by Lloyd Bradford Syke

There’s some big ideas in playwright Tahli Corin’s ambitious new Griffin Theatre play. Perhaps too many — they all end up being a little overcooked.

The world loved Martin McDonagh’s The Pillowman. Our critic saw a new production at Sydney’s New Theatre and doesn’t quite understand why.

The very best of Britain comes to Australia in the Olivier-winning, Tonys-conquering National Theatre mega-hit. Its Sydney showing proves the universal appeal of a side-splitting adaptation.

It’s as good as Carmen can be, indoors or out. Opera Australia’s Sydney Harbour spectacle might not be pure, but it’s a visual feast and the performers are world-class.

They’re creepy and they’re kooky, and the Australian players really dazzle. The Addams Family, a moderate hit on Broadway, arrives in Sydney in perfect working order.

Joanna Murray-Smith’s one-woman tour de force — originally written for Caroline O’Connor — is in safe hands with Sharon Millerchip at Ensemble Theatre. It’s an extraordinary performance.

What happens when you put seven seniors from south-western Sydney, who’ve never acted before, on a stage? It’s rough and ready but has important things to say.

What’s Todd McKenny doing on the opera stage? It’s all the fault of Jonathan Biggins and Phil Scott, who got up to no good in the Opera Australia workshop. Luckily there’s plenty of laughs.

Songs For The Fallen is a drama, comedy, musical, cabaret … or something else entirely. The lush Seymour Centre production is certainly a tour de farce.

Part of Performance Space’s “Matters Of Life And Death” series, Brian Lucas’ Performance Anxiety demonstrates a performer with anything but.