At last, some piercing light has broken through yonder window: this is an entirely new prism through which one can view the intense, almost blinding beauty of Million Dollar Bill
The AS Trio was, and is, spellbinding. They'll chill you out and softly sand down the rough edges in a way even a double Scotch cannot. Theirs is music for the mind, body and soul.
Checkpoint Zero isn't all about two star-crossed lovers who take themselves that little bit too seriously. It's also about the Israeli-Palestinian conflict. Yawn!
These girls are certifiable: they played 27 shows in 30 days, while in N. America. Yet it tells not. They come across as having palpable passion for their profession and material. Justifiably so
Waiting for Garnaut is a roaring hot air blast of acrid wit, unapologetic characterizations and droll tunes all laced with brazen irreverence that both titillates and harangues any lurking hypocrisies an audience might be harboring.
Australia has an ageing population. A chestnut as old as the populace itself. By corollary, it also has an ageing complement of actors. Fortunately, some of our best are getting on a bit.
Once you accept that Doninzetti’s Lucia di Lammermoor is essentially Brigadoon with an Italian accent and stop wanting or wishing it to be grand opera in the Verdi mode, then everything suddenly falls into place.
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.