Robin Hood The Truth Behind the Green Tights

By David Nielson. Roleystone Theatre. Directed by Brogan Smirke and Euan Macmillan. Cecil Andrews SHS Performing Arts Centre, Seville Grove, WA. 9-17 March, 2018

Congratulations to Roleystone Theatre for managing to get Robin Hood The Truth Behind the Green Tights to the stage. Just a couple of weeks before Opening Night, Roleystone’s heritage theatre was declared unsafe. The ‘Green Tights’ team managed to find a temporary venue, adjust the sets, notify all the ticket holders and reconvene – playing to capacity houses.

The Wolves

By Sarah DeLappe. Redline Productions. Old Ftiz Theatre (NSW). March 14 – April 14, 2018.

What a great vehicle Redline Productions has chosen to highlight the under-tapped wealth of women in theatre! Written by a woman, directed, designed and stage managed by women, and performed by nine fine, fit, feisty, female actors, this prize-winning first play by American playwright Sarah DeLappe raises the bar in the determined pursuit of recognition and equity across the arts.

The Lover

Adapted from the memoir by Marguerite Duras by Lawrence Strangio; original translations by Barbara Bray, Leigh Harvey and Linda Coverdale. Dramaturg Annie Thorold. La Mama Courthouse, Carlton VIC. 15 – 25 March 2018

Lawrence Strangio, an always interesting, original and risk-taking director, has taken the bold step of adapting Marguerite Duras’ novella/memoir The Lover – and in an original and risk-taking way. 

41 Seconds

By Mary Galouzis. Adelaide Fringe. Presented by Talk Out Loud. Golden Grove Arts Centre then Bakehouse Theatre. March 9-17, 2018

Eight people are lost to suicide each day in Australia and globally it happens every 40 seconds.

Shocking as that statistic is, the devastation wreaked by suicide doesn’t stop with the tragic finality of the actual act. Across the world, from the second after the tragedy occurs, families and friends must deal with lifetimes of facing the reality of their loss.

Eleanor’s Story: Home Is the Stranger

Adelaide Fringe. Tandanya Theatre. February 17th – March 18th, 2018

Eleanor’s Story: Home Is the Stranger is biographical. A sequel to Eleanor’s Story: An American Girl in Hitler’s Germany, it is a 50-minute, one-woman show presented by Eleanor’s granddaughter, Ingrid Garner.

Destroy, She Said

By Marguerite Duras, directed and adapted by Laurence Strangio. DURAS: Desire & Destruction season. La Mama Theatre. March 15 – 25, 2018

Destroy, She Said is part of the new Duras: Desire & Destruction season at La Mama. Four guests in an isolated hotel in the midst of a forest; a tennis game is heard but never seen, a strange card game that is somewhat foreboding. Is there madness looming? Or is this a gathering of post- holocaust  German Jews seeking rebirth?

Elevate! The Musical

Presented by The Dizzy Biz. Adelaide Fringe Festival 2018. Gate 1 at Tuxedo Cat at Broadcast Bar. March 14 – 17, 2018

Being a little claustrophobic myself I can’t think of anything worse than being stuck in a lift with 3 complete strangers. Seems an unlikely premise for a musical, but it really works!

Four seemingly unrelated people enter a lift, only to have it break down and force them to be trapped in uncomfortably close proximity for more than 26 hours.


By Amer Hlehel. Directed by Amir Nizar Zuabi. Adelaide Festival. Space Theatre. 15-18 March, 2018.

Though this solo performance may, at first glance, appear to be a tale of autobiography by its performer – such is the passion and personal touch with which Amer Hlehel presents it – Taha is, in fact, a spirited, richly textured telling of selected experiences from the life of Palestinian poet Taha Muhammad Ali (1931-2011).

The Magic Pudding

Composer: Calvin Bowman. Librettist: Anna Goldsworthy. Victorian Opera. Conductor: Fabian Russell. Director: Cameron Menzies. Arts Centre Melbourne, Playhouse Theatre, March 13 – 15, 2018, then touring regionally.

Continuing its strong emphasis on building opera audiences, Victorian Opera celebrated the centenary of the first print of Norman Lindsay’s The Magic Pudding by reprising their operatic incarnation.

It was a delight.

Designed for touring to schools and involving local community/school choirs, the set was simple but effective and would be easily transportable and fit into any venue. The choruses all appeared to be unison for ease of learning.


Writer: Amir Nizar Zuabi. Music: Faraj Suleiman. ShiberHur Theatre Company. Adelaide Festival. The Space. March 14th – 18th, 2018

Azza is one of the most compelling pieces of theatre I have seen. It is like a well-structured piece of choreographed verse that, from the first minutes, lures you into one of the most poignant and painful times in the lives of those who love and are loved.

A capella chants are used as blessings, creating a trance-like state for the players and the audience, linking stories and changes of mood throughout the hour of the performance.

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