As an actor, it's always reassuring to know you've got great material with which to work and it doesn't get a whole lot better than that written, and directed, by the affable Paul Gilchrist
We’ve all been there. Trapped in a potentially destructive relationship that is going nowhere. We stay because we can’t be bothered leaving, convincing ourselves that the good out-weighs the bad. Welcome to Stockholm.
Unfortunately, what we see instead is almost the very antithesis of the ethos of innovation and vitality upon which this company was founded. Sadly the production is, at best, pedestrian.
Meow Meow is a very different kinda kitten, with teeth and claws, which put her at the cutting-edge of what might be called alternative, or indie, cabaret.
Money and Friends is a gently scathing lampoon of those wealthy enough to have waterfront properties in Sydney and holiday houses down the coast, and how their greed is but one expression of their manifold personal shortcomings.
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.