Reviews

Ghosts

By Henrik Ibsen. Belvoir, Upstairs Theatre. September 16 – October 22, 2017

Eamon Flack describes his adaptation as “ a fairly direct rendering of Ibsen’s play into a language that makes sense to us today but still retains the feeling of the past”.

Mana Wahine

The Okareka Dance Company. Co-Authors Taiaroa Royal, Taane Mete and Malia Johnston. Music by Victoria Kelly. Arts Centre Gold Coast. Sept 20th to 22nd, 2017, prior to Canada and Hawaii, then Darwin Entertainment Centre Nov 2nd.

Much like our own Bangarra Dance Company, The Okareka Dance Company transcends the restrictive label of “Dance” to bring us something ethereal that is made up of history, spirituality, philosophy and physicality. Yes, it is dance, and dance of the highest order, but it is also a lesson in integrity, tradition, belief. Combine all those things and you have one of the most powerful pieces of dance theatre in the history of contemporary dance.

Seussical Jr.

Music by Stephen Flaherty. Lyrics by Lynn Ahrens. Book by Ahrens and Flaherty. Co-conceived by Ahrens, Flaherty, and Eric Idle. Based on the works of Dr Seuss. Pelican Productions. Norwood Concert Hall. Sepember 15-17, 2017

This reviewer is happy to confess that Mr Brown Can Moo! Can You? will always be a book he can look back on with fondness and enthusiasm – but having yet to graduate into parenthood means a general lack of children’s picture books around the home in recent years. Prior knowledge of the character Horton, and his adventures, is advised preparation before attending any production of Seussical.

Assassins

Music and Lyrics by Stephen Sondheim. Book by John Weidman. Directed by Dean Bryant. Choreography by Andrew Hallsworth. Musical Director Andrew Worboys. Set and Costume Design Alicia Clements. Hayes Theatre. September 15 - October 22, 2017.

Actors love playing villains – and Assassins delivers a whole fruitcake tin of them. The Hayes Theatre has baked the loonies together, inside the most stunning set, combined with the tastiest of ensembles, to create a positively scrumptious result. 

The biggest surprise is to read the program afterwards, when you discover that Sondheim and Weidman didn’t have to make much up about the motley crew of ‘successful’ and ‘unsuccessful’ assassins of the Presidents of the United States over the years.  

Laser Beak Man

By David Morton, Nicholas Paine and Tim Sharp with music by Sam Cromack (Ball Park Music). A La Boite Theatre Company, Dead Puppet Society and Brisbane Festival production in association with PowerArts. Roundhouse Theatre, Kelvin Grove. September 9-30, 2017

Puppets, puns and plenty of laughs suitable for a school holiday audience, Laser Beak Man is peppered with innuendo that stretches from the White House in America all the way to Parliament House in Canberra.

The storyline for Tim Sharp’s extraordinary character is quite simple: a group of friends discover an energy source that could make power free for everyone in Power City but greed corrupts the discovery and it is up to Laser Beak Man and his trusted friends to save the city.

Elizabeth

By Lisa Crawley & Rochelle Bright, performed by Lisa Crawley, directed by Kitan Petkovski. Bullet Heart Club. Butterfly Club, Melbourne CBD. 18-24 September 2017

Elizabeth is a first-person account of being a cocktail bar pianist, the musician – maybe a very talented musician – tinkling away in the corner in some venue or other where the main business is drinking, chatting and hooking up.  Live performance muzak.  Rarely listened to with any attention, often ignored completely, interrupted, regarded as interruption, the pianist asked to ‘tone it down’ or ‘play softer’, or harassed by sexist put-downs and well-worn pick-up lines, cut off any time by recorded ‘house music&r

Urinetown (The Musical)

Book and lyrics by Greg Kotis. Music and lyrics by Mark Hollman. Mosman Musical Society. Zenith Theatre, Chatswood. September 15 – 23, 2017

Think anarchic, post-apocalyptic, dystopian satire … then think musical …

Urinetown The Musical takes audiences to a near-future world where water is scarce, and everyone has to pay a corrupt corporate monopoly to pee.

The Night Alive

By Conor McPherson. O’Punksky’s Theatre in association with Red Line Productions. Old Fitz Theatre. Sep 13 – Oct 14, 2017

In the tradition of contemporary Irish theatre, Conor McPherson mixes humour and the macabre in this gritty black comedy. His characters are as graphically realistic as the cluttered, shabby room in which they meet – and under the direction of Maeliosa Stafford, they meet with the rhythm and cadence that make them uncompromisingly Irish in a play that moves frighteningly quickly at times – and just a bit slowly at others.

Sweet Charity

Book by Neil Simon, music by Cy Coleman and lyrics by Dorothy Fields. OCPAC(Vic). Sept 15 – 23, 2017

OCPAC’s Sweet Charity is a slick piece of theatre. This group of young theatre makers have created a show with lots of polish and energy.

Dinner

By Moira Buffini. Sydney Theatre Company. Drama Theatre, Sydney Opera House. September 11 – October 28, 2017

There are surely more plays and films set around dinner tables than we’ve all had hot dinners. Almost. Dinner parties of course are highly theatrical affairs and Moira Buffini really lets hers rip in her 2002 play, Dinner.

Set in an English country manor, bitch hostess Paige supervises a surreal menu to mark the publication of her husband’s hit philosophical opus.  A former stockbroker, Lars’ book is some Nietzschean ode to righteously selfish action, and the dinner guests match its values …. 

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