November, 2013

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The Curtain closes — we’re remounting the production at Daily Review

, Nov 12, 2013

Crikey has launched Australia's newest arts website, The Daily Review -- the new home for theatre criticism and debate. Come join the discussion.
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Forty years on: War And Peace for House opening

, Sep 26, 2013

It will be 40 years this weekend since the Sydney Opera House held its first performance, a production of Prokofiev's War And Peace. The critics loved the show -- and the venue.
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A moment of Solitude: Mayday plays an indie shot in the arm

, May 23, 2013

What do you get when you put 16 writers, nine directors and 19 actors into a room? The inaugural Mayday Playwrights' Festival. The theatrical shorts are a shot in the arm for Sydney indie theatre.
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REVIEW: Frankenstein | Brisbane Arts Theatre

, May 09, 2013

The Brisbane Arts Theatre revives Frankenstein in the best traditions of the Gothic horror tale. Brenna Lee-Cooney's take is an intense but colourful adaptation.
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Final curtain for Bille Brown a stirring send-off/up with friends

, Feb 05, 2013

From Geoff Rush to Neil Armfield, friends of Bille Brown gathered in Brisbane earlier this week to farewell the celebrated thespian in the most theatrical of ways.
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REVIEW: S (Brisbane Festival) | Playhouse

, Sep 13, 2012

This is dark and painful circus, using very few props, and only the performers' bodies to do all the hard work and act as supports for each other.

REVIEW: The Lunch Hour | Darlinghurst Theatre, Sydney

, Sep 13, 2012

There isn't much that's spectacular in Chris Aronsten's The Lunch Hour. In fact, there's quite a lot of attempted comedy that falls flat.

REVIEW: Female Creators (Spring Dance 2012) | The Playhouse, Sydney

, Aug 30, 2012

The branding for Spring Dance 2012, now showing at The Playhouse, downstairs, on the western side of the Sydney Opera House, is all over the place. What I do know for sure is that, for 2012 at least, Sydney Dance Company’s erstwhile artistic director Rafael Bonachela (a man whose name alone is poetry) is the […]
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REVIEW: Ordinary Days | Darlinghurst Theatre, Sydney

, Feb 02, 2012

Ordinary Days might be small-scale and low-budget, but it’s no ordinary musical. Written by young, still-ascendant composer and lyricist Adam Gwon and directed by Scot Grace Barnes, for Squabbalogic, it focusses in on the Manhattan lifestyle, but presents a side less idealised and glamourous than, say, Woody is prone to do. Paul Geddes is musical […]
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REVIEW: Beautiful Burnout (Sydney Festival) | York Theatre

, Jan 23, 2012

It’s getting to the stage where one has to seriously suspect collusion, or a notion of competition, permeating the ranks of artists. Not that there’s anything wrong with that. Is there? After all, there used to be a sense of oneupmanship, envy and anxiety between The Beatles and The Rolling Stones. And the similarities between […]

REVIEW: TaikoDeck | The Reginald, Sydney

, Nov 02, 2011

My editor’s going to kill me. No, really. I’m sure he thinks about it from time-to-time. And not without due cause. You see TaikoDeck isn’t, strictly speaking, theatre. It’s live music, masquerading as theatre. But, hey, I don’t program The Reginald’s season. Tim Jones does. So, Timbo, I’m bequeathing the flak. Yes, if you’re reading […]
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INTERVIEW: Jacqueline Dark on opera, Mozart and Don G

, Sep 28, 2011

What's a physics graduate doing tangling with Don Giovanni? Jacqueline Dark talked to Curtain Call about the glories of Mozart, the darkness of Don G and life as an Opera Australia diva.
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REVIEW: Lakme | Opera Theatre, Sydney

, Sep 05, 2011

It’s so Frenchy, so chic. Leo Delibes delicate approach to opera, supported by a libretto by Edmond Gondinet and Phillippe Gille, has given us the pure, exhilirating, exultant joie de vivre of one of opera’s finest and trickiest arias, the ubiquitous Flower Duet, which sounds so much better in the Gallic tongue (Sous le dôme […]
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REVIEW: La bohème | Opera Theatre, Sydney

, Jul 18, 2011

If you’ve seen, know and love Rent, you’ve kind-sorta seen La bohème and, though the music is, obviously, quite, quite different, you’ll probably love it too. What makes it all the easier to love is this spiffing, shiny new production (the first, if I’m not mistaken, since Baz Luhrmann’s 1990 take) from Opera Australia, fresh […]