October 17, 2013 4
Simon Stone has raised The Bard. His Hamlet, typically sliced and diced, is thrilling. And Toby Schmitz is commanding in the lead.
October 11, 2013
A Greek myth turned into a gay Sex In The City? Kit Brookman's adaptation of the stories around Orestes for Belvoir St is radically contemporary.
September 11, 2013
Miss Julie is missing nothing, from gutsy aural landscape to its blood-bathed denouement. Bugger the critics, this is another victory for Simon Stone.
August 29, 2013
There's profound emotional density in The Baulkham Hills African Ladies Troupe, a Belvoir St production testament to the female human spirit.
August 7, 2013
This is compelling and compulsory theatre. Persona, Fraught Outfit's theatrical adaptation of Ingmar Bergman's 1966 film, somehow matches the film's brilliance.
July 15, 2013
I'm Your Man was one of the theatrical highlights of last year's Sydney Festival. The Belvoir St boxing drama has now embarked on a national tour.
June 19, 2013
It's widely regarded as one of the greatest plays of the contemporary repertoire. And Tony Kushner's two-part epic on '80s America is performed with justice on the Belvoir St stage.
May 16, 2013
There's an awkward, eloquent silence to Tom Holloway's Forget Me Not. It's one of the finest Belvoir St Theatre productions in quite some time.
April 25, 2013 1
She's never acted before. But if Lally Katz can become one of the most performed writers in Australia, why not a one-woman show? It's full of heart.
March 7, 2013 3
Cat On A Hot Tin Roof with Aussie accents? There's something not quite right about Simon Stone's miscast adaptation of Tennessee Williams' all-American classic.
February 12, 2013
Nakkiah Lui brings burning anger to new play This Heaven on the Aboriginal experience. For the audience, it's an uncomfortable but important glimpse of hell.
January 15, 2013
Belvoir St reinvents another classic -- and makes it all-ages fun. Meyne Wyatt stars as the boy who didn't grow up, in a production far removed from the Disney flick.
December 11, 2012
Leah Purcell is a magician. A sorceress. Not so much actor, as channeller of other spirits. In Belvoir St’s Downstairs Theatre (with another indigenous production concurrently upstairs, Beautiful One Day), she directs herself, revivifying the prodigious Bundjalung woman, Ruby Langford Ginibi, born Ruby Maude Anderson and who’s unexpurgated moniker was Ruby Wagtail Big Noise Anderson […]
November 29, 2012 3
Three theatre companies recapitulate one of the most important stories of our recent past in Beautiful One Day at Sydney's Belvoir St. It's not without flaws, but it's pretty deadly.
October 18, 2012 1
A radically new production of Medea is more inspired by than based on Euripides' play, bringing a new urgency to the tale of a desperate mother.
October 1, 2012
If you're going to put on a trivial play, it might as well be Noel Coward. At Belvoir St Theatre in Sydney. With Toby Schmitz in a bathrobe. Now that's worth seeing.
August 31, 2012
There’s no doubt Conversation Piece will amount to just that. And there can be no doubt that Lucy Guerin, choreographer and director of this co-production, is a vital, important, influential and innovative choreographic and theatrical force. But while the premise is irresistible, it doesn’t necessarily make for 70 minutes of compelling theatre. Maybe 20. Or […]
July 2, 2012
Simon Stone, despite his celebrity and meteoric rise to prominence, is still a director in short pants. That’s good. And not so good. Like any good creative artist, he’s not so well-informed as to let facts or knowledge get in the way of making it up as he goes along. And he’s certainly got the […]
June 22, 2012
You can practically always rely on Belvoir St and its Downstairs space to keep things interesting, at the very least. Matt Whittet’s deeply feeling play about family, fatherhood, love and loss dramatically exceeds that benchmark. This has everything to with the playwright, the play, the director (Anthea Williams) and her distinguished cast. I doubt we’ve […]
May 13, 2012
Benedict Andrews’ recent, desperately ill-fated foray into the esteemed space of Belvoir Upstairs came replete with extensive programmatic director’s notes which were better than the actual script. Simon Stone, another of our theatre’s fashionable, youngish things, has indulged the same privilege, justifying, at length, his contemporary take on Eugene O’Neill’s Strange Interlude, which draws upon […]