Reviews

The character of Medea will be known forever as ‘the woman who killed her children’.  Of course, it’s more complicated than that.  A despised outsider – a ‘barbarian’ - in Corinth, driven mad (or is she?) when she is dumped by her opportunist, social climber husband, Jason, for a younger model, and she and her children by him are about to be sent into exile…

Quoting NoëlCoward, "I've sometimes thought of marrying - and then I've thought again.”

Private Livesopened at GCLT, preceded delightfully - and appropriately - with French chanteuse Huguette Raman performing pre-show in the bar-foyer.

Coward's plays are a unique style; his wit is in portraying and sending up the questionable manners and sophisticated posturing of the 1920’s - 30's idle rich. In this case it is two couples who aren't quite sure to whom they want to be or whether they want to remain married.

I don’t know what we’ve done to deserve it but with Anything Goes the musical gods have sent us the most glorious musical-comedy package in years. A perfect cast bring Cole Porter’s quintessential piece of 1930s fluff brilliantly to life.

One of great British playwright Harold Pinter’s most innovative, thought provoking and subtly humorous scripts is given an extremely plodding, unimaginative and heavy-handed staging from the State Theatre Company of South Australia. Some bravura acting from the leading players and the compelling wit of Pinter’s words are the only things that save it from being a complete disaster, as the intrusive, monotonous soundtrack, coupled with some really leaden direction, serves to drain so much life out of the story being told onstage.