Other Desert Cities

By Jon Robin Baitz. Directed by Kate Cherry. Black Swan State Theatre Company. Heath Ledger Theatre, State Theatre Centre of WA, Perth, WA. Jul 20-Aug 4, 2013.

As the lights rise on Other Desert Cities, the audience are greeted with one of the most sumptuous and expensive looking sets ever to grace the stage of a Perth based play. A stunning Palm Springs mansion, complete with floor to ceiling windows, beautiful and elegant flooring and a pool deck with pool (and water), Christina Smith's set design literally sets the scene for a high quality production. This is clearly a luxurious and beautiful home, an oasis in the surrounding desert - a dangerous and inhospitable surround.


By Melissa Bubnic. Griffin Theatre Company. SBW Stables. July 19 – August 30, 2013.

Griffin Theatre's newest offering Beached is a brutal look at the seductive nature of reality TV. It's a mash-up of the current styles that have littered our television screens for years, but uses the medical intervention as its centrepiece. 

Meet Arthur Arthur (yes a man with two first names) or Arty (Blake Davis) as he is referred to. Arty is 18 and weighs 400 kilograms. He is the world's heaviest teenager and 'Shocking Fat Stories' is here to help.


At Home at the Zoo

By Edward Albee. Directed by Tanya Gruber. Presented by Something Borrowed Theatre (ACT). Smith’s Alternative, Civic, Canberra. 18, 19 and 20 July, 2013

It was lovely to squeeze into the hippest venue in Canberra for some intellectual stimulation, presented by brand new company Something Borrowed. At Home at the Zoo opens with Peter absorbed by “the most boring book [his company] has ever published,” when his wife, Ann, starts to hint at unhappiness within their marriage. Simmering tensions rise and climax with alarming revelations by both characters. Peter escapes to the park for some peace, but fatefully meets Jerry with tragic consequences.

A Midsummer Night’s Dream

By William Shakespeare. Director: Jordan Best. The Q, Queanbeyan Performing Arts Centre. July 24 – August 3, 2013

Jordan Best again demonstrates her comedy skills with this wonderful adaptation, which is about as far from the 1999 overblown, unfunny movie version as it’s possible to get. With flawless timing, Best coaxes energetic clowning from her actors. The cast includes several CAT Award winners and Q favourites, such as Jenna Roberts stealing scenes as a sexy, frustrated Helena chasing Duncan Driver, who transforms Demetrius into a slack-jawed mouth-breathing twit.

The Tap Pack

Created by Jesse Rasmussen, Jordan Pollard and Thomas J Egan. Directed by Nigel Turner Carroll. Chapel off Chapel (Vic). July 24th – August 4th, 2013

I am an unashamed tap fanatic. From the time I was born my Mum never sang me to sleep….she danced for me. And what dancing! A great hoofer, she was taught by the fabulous Nicholas Brothers. So I confess to mixed feelings on going to see The Tap Pack. I wanted to love it, but was afraid that it wouldn’t match the dancing of my youth and I would be disappointed.


By Dianne Samuels. Theatre on Chester, Epping (NSW). July 26 – August 17, 2013.

The stage is a cluttered attic hunkering under wooden beams. Old suitcases line one wall, cardboard boxes the other. Worn, rejected pieces of furniture and forgotten toys litter the space. “There are stories here,” the set suggests, “memories and history.” And as the title and notes from Director Carla Moore imply, the stories go way back to the late 1930s, to Germany, and the terror and violence of the anti-Semitism that crytalised with the Kristallnacht, the Night of Broken Glass.


Book by Mark O’Donnell and Thomas Meehan. Music and Lyrics by Marc Shaiman. Lyrics by Marc Shaiman. Packemin Productions. Riverside Theatre, Paramatta. July 27 - August 10, 2013

Let’s cut to the chase. Jon English in a dress – who’d have thought? The macho Pirate King now in drag as Edna Turnblad, the mother of a teenage tearaway desperate to break into television in 1962.

From Baltimore to Parramatta he was a sight to behold. For starters he has impressive legs, although high heels was a bridge too far. Well done for resisting tattoos over the years on those slender arms on display. Teams of seamstresses and wig stylists would have needed weeks to create his explosive frocks and curls.

The Hansard Monologues: A Matter of Public Importance

A verbatim play by Katie Pollock and Paul Daley. Seymour Centre, Sydney. July 23 – 27, 2013.

Going in you think you know what to expect, a lot of rhetoric, a lot of yawn-inducing ramblings and skewed political arguments. But what you actually get is quite different.

This is intriguing and compelling theatre. The Hansard Monologues is the perfect example of just how entertaining verbatim theatre can be when it has the appropriate subject matter at its core - which in this case is the life of the 43rd Parliament.

The Barber of Seville

By Rossini. OzOpera. Music adapted by Brian Castles-Onion. Originally devised and directed by Christine Anketell. Restaged by Naomi Edwards. Music Director: Sue Goessling. Designer: Richard Jerziorny. Pianist: Pamela Christie.

OzOpera’s production of The Barber of Seville for Primary Schools is a winner on many levels. It offers full time employment to young developing professional singers and support crew, and it exposes young minds to the glory of opera before they become closed.

This cut-down version of Rossini’s most popular comic opera went for less than an hour and was long enough for the young audience. All the good tunes were there, though much shorter than the originals, there was a lot of dialogue and plenty of fun.

And No More Shall We Part

By Tom Holloway. Tasmanian Theatre Company. Theatre Royal Backspace, Hobart. Director: Sue Benner. July 25 – August 4, 2013

Tasmanian Theatre Company’s production And No More Shall We Part is a poignant story of living, loving and leaving, played with searing honesty by Joan Murray and Guy Hooper. Pam and Don have had a long and successful marriage. Now, Pam is dying, and the couple have to deal with her departure and her choices. Dying with dignity and euthanasia are topics for discussion, and, eventually, legislation. The import of the subject is made all the more moving because of the ordinary language of the writing, and the lack of pretension and absence of melodrama of the production.

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