Reviews

The masked audience roared as Brian Nankervis took to the stage to begin the proceedings, first with a quick-fire round of questions to six selected audience members, four of whom would become the panel for the remainder of the evening. They weren’t random: they knew their stuff, answering their questions rapidly, correctly – and often in full song or (River)dance. And so, with the remainder of the audience applauding loudly, Lynne, Con, Simone and Max were seated behind their RocKwiz desks.

Ayesha Harris-Westman (Abbie) and Lucy Rossen (PB) are best friends in their final year of high school facing some of the usual challenges presented to teenagers on the brink of adulthood. This story is much less conventional than expected and deals with much more than the usual plots that often characterise coming of age narratives.

Aida returns to Sydney Opera House, three years after its first run, with all production bells and whistles in place: all those massive LED panels that waltz about the stage, joining up to form giant tableaux of snakes writhing, storms, sunsets, galloping horses and naked women on guard duty. 

This past year or more has played havoc with theatre companies, both professional and community. Many companies have gone to the wall financially after the long period of no income at all. As a result, most companies have clearly evaluated the demographic of their audience and have played safe. There’s a plethora of feel-good comedies and whodunnit’s around - easy entertainment as sustenance after a long famine. Gold Coast Little Theatre, long known for its diversity, is the exception rather than the rule.