15 Results

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.

What wonderful bookends. On the one hand, Bernhard’s The Histrionic, which digs a grave for Austrian, German and Polish society and culture. And buries the bodies. Alive. A study of absolute power absolutely corrupting. On the other, Joe Orton’s merciless play from 1964, which digs a grave for English hypocrisy. And buries the body. Alive. [...]

Lucy Miller is in her prime, at the peak of her powers. Which is mostly what carries Crushed. Sure, her co-stars (Sean Barker and Jeremy Waters) are good, too. But Miller is who and what keeps you watching, waiting and listening. Playwright Melita Rowston has apparently invested years in this play, in its world premiere season [...]

Like so many of the retro crop of plays that’s been surfacing lately, for many, if not most of us, our primary association and reference-point is likely to be through Nobel prize-winning novelist William Golding’s 1954 debut novel, the film that followed about a decade after or, perhaps, both. It wasn’t until circa 1995, as [...]

Subtlenuance would seem to be going from strength to strength. Oh sure, writer-director Paul Gilchrist and producer Daniela Giorgi have faltered here-and-there but, all-in-all, bugger all. This time out, they join forces with The Spare Room, an initiative of historic New Theatre that facilitates co-productions between same and indie theatre companies, emerging and established, funded [...]

This isn’t the first outing of Alana Valentine’s play, Parramatta Girls. But it’s a worthy revival and a very strong production, from director Annette Rowlinson, albeit of an over-written play. This is a history we should all know, and Valentine has based her work on real testimonies, from former inmates. Yes, inmates is the right [...]

Now here’s a play that gives you something to chew over, like a good wine that leaves something on the back-palate, as opposed to something impenetrably, indigestibly cryptic. Elise Hearst has written something informed, wittingly, unwittingly, or both, by the experiences and psychosocial outcomes of her holocaust-surviving grandmother (she even stole the names of her [...]