Reviews

We climb the very steep stairs up to the Explosives Factory playing space.  A big man in a bowler hat and snakeskin shoes greets us – in Spanish.  (A mystery never solved.)  He’s jolly but so big he’s a little intimidating.  He directs us to a table where we can have some soup and black bread.  If he likes the look of you, you may get a tiny nip of vodka...  La Traviata blasts out, filling the space.  Meanwhile, on a platform above the memorabilia littered stage, sit two men, motionless, facing away from each other.  When th

Andi Snelling’s creative process is to set her imagination loose so that she or it comes up with images, scenes, lines of dialogue or direct address in no particular order.  She films these inspirations just for herself, looks at them and asks, ‘Am I interested in this?  Would an audience be interested in this?

With this obscurest of Shakespeare’s dramas, Bell Shakespeare really takes flight in its newish harbourside flexible theatre space at Sydney’s Walsh Bay.

The Offering (A Plastic Ocean Oratorio) is the theatrical premiere of an epic new performance work by award-winning Bornean-Australian poet, author, rapper and a visual artist Omar Musa and American cellist Mariel Roberts Musa.

The Offering brings the arts together in a performance that is “deeply powerful and hauntingly poetic” – powerful because of the global significance of its themes, haunting because it is presented in a blend of words, music, rhythms and visual images that is poignantly moving.