With reviews for his stand up ranging from “better than Jesus” (The Scotsman) to “sick and repellent” (Christian Voice UK) my curiosity was, understandably, piqued.
It's the festival designed to take wog actors out of work and put 'em in it. It's the festival designed to jolt us, from our white Australia arts policy and politics slumber.
Still young after these four years, Kammer comprises musicians individually revered, which not only augurs well for the collective potential, but which is fully-realised.
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.