Sydney Reviews

Details: lloyd bradford (brad) syke; 25 October 2012

A View From Moving Windows | True West Theatre

There are weak points when one looks critically through Moving Windows. But they can only really be seen close-up. Overall, one is impressed by taut & terrific performance, design, dance, lighting and music, amply informed by gentle wit.

Details: Jodi McAlister; 24 October 2012

The key piece I felt was missing from Fallout was a motive. Why, exactly, were these four being held captive? They did not know, and perhaps I was supposed to share in their frustration, but ultimately, it left me feeling unsatisfied.

Details: lloyd bradford (brad) syke; 23 October 2012

Donnelly is smart enough to leaven his heavy dough with a hearty dose of humour, which director, Rebecca Martin, takes every opportunity to exploit, while remaining ever mindful of the importance of the subject matter.

Details: Eliza Eggler; 23 October 2012

Last Thursday's performance of Donizetti's Lucia di Lammermoor at the Sydney Opera House belonged well and truly to the show's outstanding leading-lady - Emma Matthews.

Details: lloyd bradford (brad) syke; 22 October 2012

I doubt there's a Toowoomba boy who's done quite as well as Geoffrey Saba. Of course, Queensland and Australia ostensibly lost him, to London, may years ago. So it was good to have him back at the acoustically admirable Independent Theatre, in North Sydney.

Details: lloyd bradford (brad) syke; 19 October 2012

The Best Little Whorehouse In Texas | Canterbury Theatre Guild

I'm not a Whorehouse aficionado. Perhaps I'd better rephrase that. I'm no expert on The Best Little Whorehouse In Texas. Matter of fact, Canterbury Theatre Guild's shiny, new production, at Bexley rissole, is my first time.

Details: Jodi McAlister; 17 October 2012

Cristabel Sved and Kate Box's new version of August Strindberg's classic play Miss Julie is a good play but not a great one.

Details: Jodi McAlister; 17 October 2012

It would be easy to let this production slip into caricature and melodrama, but director Lee Lewis has very capably left it teetering just on the edge. It's not at all an indulgent production: nothing about it feels laboured.