The Trade

By Aidan Fennessy, Jim Russell and Marty Sheargold. Tasmanian Theatre Co. Theatre Royal Backspace, Hobart. Directed by Guy Hooper and Charles Parkinson. 20 September – 6 October, 2102.

It’s either an urban myth or a truism that chicks (even old ones) love tradies. The Tasmanian Theatre Co. presentation of The Trade set out to make us all, if not like, at least relate to, painters Steve (Andrew Casey), Stu (Matt Wilson) and Gavin (Scott Farrow). As part of its 2012 season, Tas. Theatre Co. presented an Australian comedy which is described as “very funny and very rude” by co-director Charles Parkinson. With actors Casey, Wilson, and Scott Farrow, director Guy Hooper milked the play for every laugh.

No Child…

By Nilaja Sun. Arts Centre Melbourne, Fairfax Studio. As part of the Melbourne Festival. 9 – 14 October, 2012

Engaging, dynamic, powerful.  Nilaja Sun is all these things, and so is her one-woman play, “No Child…”, a featured Melbourne Festival production at the Arts Centre Melbourne.

From the Ground Up

Circus Oz. Canberra Theatre 3–7 October and touring N.S.W. till 1 November 2012 and the U.S. from November 2012 till March 2013

Blend the magic of circus, the surprise of stage magic, and a little stylish hip-hop; add juggling acts and a touch of satire; overlay it all with live jazzy original music and uproarious sound effects; and you may get some idea of the fun in Circus Oz's latest show. What From the Ground Up offers is an almost seamless series of shows of physical cleverness that inspires and delights, all with flair, in an air of barely controlled chaos. It's a hoot.


By David Davalos. Director: Jane Montgomery Griffiths. Red Stitch Actors Theatre (Vic). Oct 5 – Nov 3, 2012.

The premise isn’t rocket science, but it’s fresh enough. Suppose the fictitious Dr Faustus and the very real Martin Luther were both professors at Wittenberg University, and rivals for the mind/soul of young Prince Hamlet, an under-graduate who procrastinates between philosophy and theology…who would win?

Accidental Death of an Anarchist

By Dario Fo. Mousetrap Theatre, Redcliffe (Qld). 5 – 21 October 2012.

Dario Fo plays often appear hilarious to read, but that riotous fun is deceptively difficult to bring off on stage. Congratulations to Director Sandra Hinds and her shrewdly perceptive casting, this production romped along as any good Dario Fo satire should.

Reagan Warner (in the demanding role of the Madman who keeps switching characters) bristles with talent: wonderful sense of the absurd; great use of voice; mobile face, and a master of physical comedy.

Frank Christie Frank Clarke!

by Peter Fleming and Allan McFadden. The Performance Hall at the Italian Forum. 2012 Sydney Fringe. Sept 26 – 30, 2012.

Leichhardt’s Italian Forum Performance Hall was host to an innovative and entertaining night of theatre when Frank Christie, Frank Clarke! was performed for the Fringe Festival. The musical featured original music and lyrics by lan McFadden and Peter Fleming and was a remarkable showcase of talent.

Boon-esque: 50 Shades of Cabaret

Le Tableaux Burlesque. 2012 Melbourne Fringe Festival. Featuring Bobby and The Pins. The 86, 185 Smith Street, Fitzroy. 5-6 & 12-13 Oct, 2012

"Reinventing the romance novel with a dash of burlesque and barbershop." – how can you resist that pitch!

Playing to a capacity crowd on opening night, these 7 talented ladies presented a very different evening of vintage tease, acappella singing, and reading from Mills and Boon Novels in the form of vignettes. The opening night technical glitches were worked around, and the audience loved it.


Director: Liv Satchell. Tap Gallery. October 3 – 17, 2012


5 actors, 5 writers, 1 director, 1 intimate setting. HeartDotCom intrigued me as soon as I received the press release in my inbox; Agentle search of why we look for love in cyberspace. Being fascinated by psychology, sociology and anything and everything that makes us tick, online dating has always intrigued me, not only because it’s so popular but also because I’ve heard first hand umpteen stories both positive and negative of risqué rendezvous, haphazard hookups and drab dates.

The School for Wives

by Molière, translated by Justin Fleming. Bell Shakespeare. directed by Lee Lewis. The Playhouse, Canberra, 25 September – 6 October; The Playhouse, Sydney Opera House, 23 October – 24 November 2012

Some plays tickle you with their physical antics; others, with the consequences of terrible judgement; others again, with a sequence of believable misunderstandings and conflicts.  But this staging of Molière's School for Wives is so full of rich, delicious fun—character defects and foibles, webs of deceit, brilliant use of set design and props, language jokes, even the on-stage musician's interactions with the players—that it's hard to pinpoint a single reason for guffawi

Exit the King

By Eugene Ionesco. Translation by Neil Armfield and Geoffrey Rush. Directed by Emma Sproule. Dionysus Theatre Company. McClelland Performing Arts Centre (Vic). Oct 5th – 13th, 2012. – Fridays and Saturdays Only.

Last night I was present at the birth of a new theatre company. Many are born, but some are sickly and die in infancy. Dionysus, however, is a strong, healthy and beautiful baby – conceived in love and passion for theatre. Its mother is Emma Sproule, an exciting young director and winner of last year’s Victorian Drama League award for Best Director of a Comedy, and the birth was an exciting and joyous occasion.

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