Sydney Reviews
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- Jodi McAlister
The name Caress/Ache offers a picture of what the show should be like – a delicate caress, a subtle ache. Sadly, this production does not live up to the play’s name: instead of a caress, this is a sledgehammer.
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- Jodi McAlister
We laugh in the right places, and marvel appropriately at John Bell’s pitch perfect rendition of the iconic Seven Ages of Man speech. But, Bell aside, there’s not much in here to elevate this production above the serviceable.
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- Eliza Eggler
The success of this production lies in the combination of great singing and dancing on an attractive looking set that manages to feel strangely contemporary thanks to the costume, set and lighting design.
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- Jodi McAlister
This is a compelling, taut, provocative piece of theatre. The decision to cast playwright Lui in the role of her own textual avatar was brilliant, and adds another layer to the piece's intense honesty.
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- Penny Spirou
The performers are world-class, but what really makes this production an extravagant indulgence is the set design and costumes. While visually spellbinding, they also provide their own sonic aesthetic quality that makes this more than just another opera.
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- Rebecca Whitton
Combining Chekov’s wonderful, comic monologue On the Harmful Effects of Tobacco with music from Bach, Berio and Tchaikovsky makes for a short and charming salon piece from the Théâtre des Bouffes du Nord.
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- Rebecca Whitton
Have I No Mouth will divide audiences. This is an excellent idea for a play, especially for those with an interest of psychotherapy or the use of drama in psychotherapy.
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