Reviews

The Hours is an outstanding example of where opera should be heading. As much as we love the classics, the world is moving on and it is refreshing to see that Metropolitan Opera has the foresight to present newer works along with our much-loved favourites!

It began its life as Michael Cunningham’s 1998 Pulitzer Prize-winning novel, followed by the 2002 film adaptation starring Nicole Kidman, Meryl Streep and Julianne Moore.

Meryl Tankard draws masterfully on stunning creative collaborations to create our current turbulent world, “collapsing and expanding through a concertina of floods, fire, plaque and war”.  The choreographer calls her vision, Kairos; it’s an ancient Greek word suggesting a random but opportune moment.  And it’s now.

As a died-in-the-wool Eels fan, I could not resist the opportunity to revisit the Parramatta Leagues Club to take in the intriguing juxtaposition of giant pictures of Sterlo and Cronin, the dazzling lights of the poker machines and a company which blends dancers with and without disability.

The Restless Dance Company of Adelaide has taken temporary residence of the bowling arcade on the third floor.

When Cynthia was a little girl (touchingly played by Sarah Greenwood) she didn’t see much of her beloved Daddy; he was always too busy developing a pill.  But Cynthia (still Greenwood) grows up into an upper-middle-class princess - and a super-loyal, high performing executive who’s developed a pill of her own.  Hers is an experimental pill that transforms perception, particularly of oneself - and tonight Cynthia will launch her pill - and take it herself.