Jewish Chronicles

Theatre Works, St Kilda, Thursday, 1 April 2010 (Plays thru April 10). Also in Sydney at Bondi Pavilion Theatre - April 13 - 18.

Daniel Cainer’s Jewish Chronicles is a one-man cabaret fresh from the Edinburgh Festival and London’s West End. A collection of songs and stories that examine, with great compassion and humour, what it means to be Jewish in the 21st Century, the name is a play on the Jewish Chronicle newspaper and the show itself an accidental product of Cainer’s own ‘mid-life kosher crisis.’

Joseph Heller’s Catch 22

Brisbane Arts Theatre. March 3 to April 3.

What a joy to catch up with an inspired stage production of this 1960s literary classic! It’s a devilishly difficult play to bring off, but with an ingenious set, a committed cast (all but one of whom played multiple roles) and Gregory Rowbotham’s masterful direction, this team succeeded in spades. The WW2 flight squadron of crazies portrays an uncomfortable parallel with events in more recent US wars. Seems you don’t have to be mentally unstable to go to war, but it helps.


NICA (The National Institute of Circus Arts). Prahran (Vic). Until March 31

ver-i-tas – noun Latin. Truth.

Vampire Stories

Slide, Oxford Street, Darlinghurst (NSW). Thursday evenings at 7pm from April 8.

Nosferatu meets cabaret meets Oxford Street drag show, in a deliciousy integrated night of dinner theatre. Screams of shock and squeals of laughter begin in the vestibule. But I won't spoil that! The ghoulish glam of the hostess and Rocky Horror reminiscent waiting staff establish the mood from the outset. Performers double as waiters and bar staff, or do I mean the reverse. Not an unusual occupational doubling, you may say, but terrifically integrated and atmospherically effective.

The Bitterling

Pentimento Productions and La Boite Indie (Qld). 17th Mar – Apr 4th

Author Sven Swenson’s reputation took off publicly last year with his ‘big’ play The Truth about Kookaburras. The theme of that murder-mystery was ‘What constitutes masculinity’? In this work, he explores the power of motherly love. As a secondary theme, he challenges the freedoms the WW2 diggers fought to defend, given the number of family values they held dear that were shattered in the ensuing decades. (Daughter of a victim of the Burma railway, Rose, exemplifies many of these in her tearaway character.)

Love Me Tender by Tom Holloway

Belvoir St Theatre, Sydney. Director: Matthew Lutton. Until April 11.

Bold, engaging and at times verbally graphic, this work by writer Tom Holloway and director Matthew Lutton discusses the human elements of love, parent-child relationships, fears and sacrifice. Inspired by Euripides’ Iphigenia in Aulis this play follows a mother/wife, father/fireman, policeman and two human narrative agents. The main characters explore their inner thoughts about domesticity, relationships, gender roles and animalistic intentions.

The Suicide

By Nikolai Erdman, re-imagined and Directed by Simon Stone. The Hayloft Project. Belvoir St Downstairs Theatre - March / April 2010.

Cloaked in a synthetic haze and with a floor covered in road-base, the mood is already heavily burdened with metaphor when the ensemble suddenly bursts onto the stage for a robust vocal rendition of a chamber orchestra. And so begins this delightfully off-beat production. With no prior knowledge of the source material and a fully Australianised re-working of the dialogue, the former references to Soviet oppression were lost on this reviewer, but the themes of commercial opportunism were still resonantly universal.

Habeas Corpus by Alan Bennett

Malanda Theatre Company (Qld). Director: Jim Hill.

Alan Bennett's play, Habeas Corpus, is not the normal run-of-the-mill comedy. Plagued by vertically-challenged trousers, disappearing breasts, and pompous doctors, the Malanda Theatre Company's first production for 2010 is a farce with intellectual undercurrents. Acted on the simplest of sets - three chairs and a vacuum cleaner - the play is a fast-moving feast consisting of poetry, song and good comedy acting. Howard Smith, complete with the obligatory deep, reassuring doctor's voice, excels as the frustrated Dr. Wicksteed.


Opera by Brett Dean, libretto by Amanda Holden, based on the novel by Peter Carey. Opera Australia. Director: Neil Armfield. Conductor: Elgar Howarth. Set Designer: Brian Thomson. Digital Lighting Displays: Chris Twyman

A brand-new home-grown opera in a $2 million production at the Sydney Opera House is something to celebrate. Brilliantly set and directed, and with a stand-out central performance, Bliss is certain to make its mark on international stages in the coming years. Bravo, Opera Australia.

The Boys by Gordon Graham

Director: Dannielle Ashton. Old Mill Theatre, South Perth, WA. February 5-20

The Boys is definitely not a ‘pleasant’ night out. Vaguely based on the Anita Cobby case (though by a West Australian author), it tells of a family tied to an unthinkable crime and the effect it has on the women in particular. Dannielle Ashton is known for producing hard-hitting theatre, and she pulls no punches. This was raw and confronting. Her casting was outstanding, especially with the women, and the men – particularly Murray Jackson provided strong support.

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