Few things could be more bizarre than Uta Uber Kool Ja's hotel room soirees, staged high above the cobblestone streets in a room with a view, at the Old Sydney Holiday Inn.
If your backside can endure an uncushioned bench for a couple of hours, a play must be pretty damn good. Andrew Bovell's When The Rain Stops Falling is better than good.
Savage In Limbo isn't as well-known or as oft-performed as the Oscar-winner's other plays. Probably because it cuts a little deeper and is more emotionally challenging; the last applying for both actors and audiences.
Prime: Orderly is the latest work by dancer-choreographer, Dean Walsh, based on two years' research into marine environments, a luxury afforded by his tenure as Dance Fellow with the Australia Council.
I well remember Zoe Carides from GP. It was a decent drama, insofar as it went, but a very modest examination of the abilities of the actor. Tarantula estimates them much better.
Mum's In is like a time-machine, peeling back the veneer of civilisation to reveal the beating heart of a city that has a well-earned reputation as a slut.
A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
Blind faith and rational belief are always sparring partners in dramatic conflict and so it is here with the power play tinged with superstition and salaciousness.