Sydney Reviews
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- Nicholas Routley
Pinchgut’s production of Platée is a banquet for the senses. It is also a milestone in its history of 20 years of productions, a glittering success even by their own standards.
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- Richard Cotter
After twenty-one years with the Sydney Theatre Company, the Wharf Review has jumped ship, so to speak, dropping their anchor of satirical rancour and mooring at the York Theatre in the Seymour Centre.
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- Richard Cotter
Hotter than Hamilton, cooler than Come From Away, Merrily We Roll Along is the just the ticket to verily roll away those lock-down blues.
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- Marika Bryant
It is a skewed symbiosis that unravels before the audience as the interaction between such strong characters carries us all on their treacherous verbal ride, the banter between the two protagonists is unyielding.
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- Marika Bryant
Behind every name is a story, or is it ‘behind every story there is a name’?
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- Richard Cotter
A feminine counterpart to Krapps’s Last Tape, but funnier, and arguably less dour, Happy Days is happier, with wishful wisps of hope and a wistful whisper of nostalgia.
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- Emily Shaddick
Le Petit Prince or The Little Prince is a most beloved tale by the French pilot, writer and aristocrat, Antoin de Saint-Exupéry. A fable that will resonate no matter how old you are or whatever your life story.
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- Richard Cotter
David Ireland’s Ulster American hammers us with humour, hubris and hypocrisy.
Most read Sydney reviews
Dancing at Lughnasa | New Theatre
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.
Stage Kiss | New Theatre
There’s a palpable playfulness to these performances, disciplined, drilled and delightful. There’s fire, bite and fun and lots of kissing.
My Brilliant Career | Sydney Theatre Company
Based on an Australian literature classic, My Brilliant Career is destined to become an Australian theatrical classic.
The First Murder | Pinchgut Opera
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.
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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.
On the set of a big-budget Hollywood eco-thriller, the clock is ticking for an on time and under budget wrap.