Sydney Reviews
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- Nicholas Routley
Bartok’s one-act opera, Bluebeard’s Castle, is a post-Freudian re-working of Charles Perrault’s Barbe Bleu (1697) in which the doors in the castle become the doors into Bartok’s heart.
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- Richard Cotter
Six songsters – three male, three female – consort in concert to present Christmas carolling as a medieval nativity narrative in The Song Company’s swansong for this year, Lully Lulla.
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- Richard Cotter
Nick Hornby’s novel, High Fidelity, first morphed into a Stephen Frears film, then into a Broadway musical, ten years after its publication. It’s taken a further decade to grace the Hayes Theatre with a rollicking, rocking boy meets girl, boy loses girl, boy reflects on his previous break-ups, and sings and dances us to a happy ending.
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- Richard Cotter
Audiences all let us rejoice for plays like Australia Day; the script is golden soil that gives wealth for toil by labourers in the playground of the New Theatre.
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- Marika Bryant
Music has the capacity to bring everyone together under the same flag; the same nation of appreciation: yes – we are all linked when the first strum of the guitar, banjo, ukelele, bass, fiddle (get the drift?) reaches our ears.
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- Jack Teiwes
Every so often a show comes along that defies your preconceptions and exceeds your expectations to such an extent that it leaves your head spinning.
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- Richard Cotter
Semen, sweat, blood, and other bodily secretions are given voluminous verbiage, the vernacular of the carnal given full sway in what is mostly a flagellating footlights experience.
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- Jack Teiwes
At turns so hilarious that it will test your bladder control, heartbreaking enough to make you cry, and so squirmingly cringeworthy as to make you break out in hives from vicarious mortification.
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