Reviews

Like the long table that dominates the set (designer Courtney Westbrook), this play is also ‘laden’ – with diverse opinions, racial and religious vilification, family values and traditions and strong, passionate characters that articulate their beliefs and emotions in meaningful and judiciously scripted dialogue. It is also ‘laden’ with love surmounts barriers and promises hope.

Has ever a show carrying cautions about 'themes of mental illness and self-harm' been able to generate so much capacity for optimism and joy?

This one-man-plus-willing-audience presentation is one that makes you want to hug the performer in question; not out of pity, but of gratitude and respect. Every Brilliant Thing elicits the kind of audible audience reactions - chuckles, gasps, and moans - that reflect total viewer engagement.

This new production has debuted at The Street Theatre in Canberra. It is based upon the final novel in Moorhouse’s trilogy which details the life, ambitions and loves of the fascinating Edith Campbell Berry. Alana Valentine’s adaption of the novel is most entertaining, retaining the humour and drama of the novel while compressing the action into a marvellous narrative that compels the audience’s attention.

This was another ambitious project for this semi-professional company. A traditional production, which was originally staged at the Athenaeum Theatre, it looked a bit sparse on the huge stage in Frankston, though the projections at the back helped.

Il Trovatoreis nothing without top singers, and this CitiOpera delivered. New Zealand dramatic soprano Amanda Atlas had the ideal voice for Leonora. Her big voice easily met the demands of this challenging role, also delivering some beautiful pianissimo singing.