I've seen, heard and reviewed Martinez Akustica a number of times now. I never tire of doing so, for every performance, even if numerous of the same tunes are played, is fresh and vital.
Award winning Australian film director Bruce Beresford's Australian premiere of Die tote Stadt follows on from last year's acclaimed production Of Mice and Men and marks another stunning collaboration with Opera Australia.
Tonight, as we rocked up to Norths, the league's club that seemingly time (and the NRL) forgot, I had probably come to snigger. It's true. But Bobby Bruce, alias Nearly Neil and his "Aussie Band", had other ideas.
Northern Ireland is a confusing place. During my not inconsiderable lifetime, it always has been. It's easy when a conflict has only two sides, but so many seem to be multifaceted.
Epicentre's production, while very colourful and imbued with life, falls short of giving what is probably Fo's best-known its full due, in terms of its uncompromising slash-and-burn approach to institutional governance.
Simon Stone's brilliant revival of this famous American classic fully realises the power of the play and makes it easily accessible to a contemporary audience.
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.