
What we have here in War Horse is something of a hybrid creation, part quaint English drama and grandly-staged war epic, told through actors interacting with impressively complex puppetry.

Black witted Irish playwright Martin McDonagh’s The Pillowman, is storytelling at its most hypnotic.

The First World War marked the turning point in how war is perceived. With the unprecedented loss of lives reported daily on the front pages of the British press, old notions of honour fighting for one’s country were challenged.

A living room floats like an island at Sydney Theatre Company’s Wharf 2 theatre – an arm chair, a fire place, a drinks trolley.

Cut Snake is an absolutely joyous show. It’s a hard show not to describe simply in superlatives. It is marvellous. It is spectacular. It is brilliant. And it is magical, because it is sincere.

We all know white people can't dance. But they seem to have at least as much fun doing just that, regardless. Tragic, but true. The older they get, the funnier it is.

Dawson and McCarthy are witty at times and ragingly bitter and daring at others. It’s a play of extremes, an emotional roller coaster that demands a lot from its audience in terms of its complexity and intensity.