Reviews

Who's Afraid of Virginia Woolf?

By Edward Albee. Darlington Theatre Players. Directed by Brendan Tobin. Marloo Theatre, Greenmount, WA. 28 Apr - 13 May, 2017

As presented by Darlington Theatre Players, Edward Albee’s modern theatrical classicWho's Afraid of Virginia Woolf? is a tight, emotionally charged incarnation of this game-changer Tony Award winning play.

Middle aged couple Martha and George have a deteriorating relationship and play emotional games. They draw a visiting couple, new colleague Nick and his wife Honey, into their emotional vortex,

Oklahoma!

Music: Richard Rodgers. Book & Lyrics: Oscar Hammerstein 2nd. Based on the play Green Grow the Lilacs by Lynn Riggs. Roleystone Theatre, WA. Directed by Paul Treasure and Bree Hartley. May 5-20, 2017

Oh what a beautiful musical, as Roleystone Theatre presents the classic musical Oklahoma!

Played on a gorgeously constructed and finished set, designed by Daniel Ramsell, this show looks great, and while scene changes are significant, they are quick and effective. Judith Armstrong and Grant Armstrong have provided lovely backdrop art. Costumes, co-ordinated by Joanne Padget also look lovely. 

Annie

Music by Charles Strouse. Lyrics by Martin Charnin. Book By Thomas Meehan. Phoenix Theatre Ensemble, Beenleigh, Queensland. Director – Lisa Ng. Musical Director – Nick Ng. Choreography – Laura Baker. April 28 to May 20, 2017.

Annie tells the story of an 11-year-old girl living in a run-down orphanage in 1933, whose optimism allows her to believe she will one day see her parents again and that each tomorrow will be a better day. Annie is eventually chosen to spend Christmas week with billionaire Oliver Warbucks (played by Nathaniel Currie) and she quickly melts the hearts of the stern businessman and his staff. The story then takes a deceitful turn when con artists devise a plan to separate Annie and Warbucks forever.

Henry V

By William Shakespeare. University of Adelaide Theatre Guild. Little Theatre. 6 - 20 May, 2017.

It’s “once more unto the breach” for Megan Dansie, as she directs another successful Shakespearean production at the Little Theatre.

Crown Matrimonial

By Royce Ryton. Gold Coast Little Theatre, Southport. Director: Kate Peters. May 6th to 27th, 2017.

All Monarchists and anyone interested in British history will enjoy this telling of the abdication of King Edward VIII to marry his true love, American divorcee Mrs Wallace Simpson. This warts and all production is historically acurate and visually appealing, with strong performances all round.

Joseph and the Amazing Technicolor Dreamcoat

Music by Andrew Lloyd Webber. Lyrics by Tim Rice. Spotlight Theatre, Benowa, Gold Coast. Director: Andrew Cockcroft-Penman. May 5th to 27, 2017

Following on from the success of The Mystery of Edwin Drood last year, Andrew Cockcroft-Penman, musical director Shari Ward and choreographer Jamie Watt, have joined forces once again to create another hit with Joseph and the Amazing Technicolor Dreamcoat.

This imaginative staging of a Lloyd Webber favourite featured a mixture of modern and traditional costumes with a minimalist set with lots of “everyday items” for props.

Melbourne Talam

By Rashma N. Kalsie. Melbourne Theatre Company (MTC Education). Southbank Theatre, The Lawler. 4-20 May 2017

Talam, as playwright Rashma N Kalsie tells us in a program note, ‘is a term used in Indian music… the base on which the notes of musical composition and poetry rest… the rhythmic cycle of a musical competition… [Here] talam means the rhythm of Melbourne.’  That is, there’s a rhythm to the city that you ‘get’ or you don’t – and if you don’t, life can be alienated, lonely and maybe poor and hungry too.  The play tells the stories of three young people from the sub-continent – from Delhi, fro

HurlyBurly

By David Rabe. Directed by Gabriella Rose-Carter. Q44 Theatre. 550 Swan Street, Richmond VIC. 2-21 May 2017

‘When the hurly-burly’s done,’ chant the Witches in Macbeth, ‘when the battle’s lost and won…’  Playwright David Rabe’s ‘hurly-burly’ is not that of war but one of life lived at accelerated speed, blurred perception and unacknowledged desperation, fuelled by drugs, cynicism and ‘Hollywood’ culture, all creating a kind of alienating fog from which the protagonist, Eddie (Anthony Scundi) struggles to escape.  Set in Los Angeles (or more specifically ‘Hollywood’), it is not ‘about&rsqu

Mon Ma Mes (Revisite)

By Jack Ferver. Phillip Adams BalletLab. Temperance Hall – South Melbourne. 4th– 7th May, 2017.

Part Q&A, part lecture, part visceral dance, part theatrical; we end at the beginning.

Jack Ferver explores the notion between fictive and the real – is life purely a form of deconstruction? Why do we make personas to live by?  How do these in essence become truer than our real selves?

The audience and ‘selected guests’ become participants in Ferver's enigmatic performance.

Eugene Onegin

By Pyotr Ilyich Tchaikovsky. Co-Opera (SA). Thomas Edmonds Opera Theatre, Wayville. May 4-7, 2017.

Most theatregoers know Tchaikovsky’s ballets,Swan Lake and The Nutcracker Suite. Eugene Onegin is his most famous opera among avid opera lovers but remains little known generally. Co-Opera has given this opera much love and attention to detail in its most lavish and ambitious production yet.

A lyric opera, it is packed with dramatic moments and very closely follows Alexander Pushkin’s novel, but in verse.

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