Emmanuelle Mattana’s hit play exposes the roots of male privilege as private school boys gather to debate the merits of feminism.
Review: Grief is the Thing with Feathers (Belvoir St Theatre)
As The Spare Room closes (one of my favourite shows of the year so far), another literary adaptation— Grief is the Thing with Feathers—opens, at Upstairs Belvoir. The 2015 verse novel by British writer Max Porter depicts how a widowed father, left alone with two young sons, is haunted by a Crow. Co-Produced by Andrew…
Review: Eureka Day (Outhouse Theatre Co)
Jonathan Spector’s school satire about balancing personal freedoms with public responsibility was, remarkably, written in 2018. While it’s clear to see the context of Trump era political polarisation, it’s a real shock at just how prescient the play becomes in a post-covid era. Walking into the Seymour Centre’s Reginald Theatre, I was unsure if audiences were ready for a play about vaccines and how we talk about them. But while some will undoubtably brace at the subject matter, I found Eureka Day to be a surprising crowd-pleaser which doesn’t take itself too seriously.
LONDON THEATRE DIARIES PART 2: DORIAN GRAY, OPERATION MINCEMEAT, AND RED PITCH
I’m back with three more mini-reviews from my big London theatre trip. In this entry the Aussies hit the West End with STC’s The Picture of Dorian Gray transfer with Sarah Snook, the Bush’s West End hit Red Pitch, and the recent-Olivier award winning Operation Mincemeat. PLAY 4: THE PICTURE OF DORIAN GRAY, adapted and…
London Theatre Diaries: Part One
16 shows is far too many for me to review with my usual depth, however I’d like to introduce a new segment: London Theatre Diaries. Here I will attempt to briefly review every single play I saw in my two months there. I’ll write these diaries chronologically, and today’s post covers show 1-3: The Human Body at the Donmar Warehouse, Witness for the Prosecution at London County Hall and Foam at the Finborough Theatre.
Cannes Film Festival Review: Christmas Eve in Miller’s Point
“Christmas Eve in Miller’s Point” is a quiet gem of a film, although it runs about twenty minutes too long for what it is. However, Taormina’s affection for the material and capturing the minutiae of family life is evident, and that clear care makes for a rewarding experience, despite the length. Audiences will get the most out of it if they expect a slow, gentle, observation-based character study. The ensemble is a testament to the talent of these lesser-known actors, with particularly strong performances from Maria Dizzia and newcomer Matilda Fleming, playing a mother and teen daughter at odds.
Review: Alone it Stands at the Ensemble Theatre
As a director, Watson leans into the rough and energetic physicality of a rugby match, drawing out exuberant performances from the ensemble, despite the relatively small stage and cast size…Alone it Stands is a real crowd-pleaser, and the most enjoyable show I’ve seen at Ensemble in years
Review: The Importance of Being Earnest at STC
The irony of Sydney Theatre Company staging a production that skewers the upper classes while also selling tickets that often cost upwards of $100 is not lost on me. I know that many students, like myself, might not be able to afford to see this show, which is a shame because it really is a very witty, very fun night out.
Review: Summer of Harold at Ensemble Theatre
Summer of Harold, written by Hilary Bell and directed by Francesca Savige, is a triptych of three short comedic plays performed by two actors (Berynn Schwerdt and Hannah Waterman)—two monologues and one duologue. It’s ostensibly an ode to the nostalgia and memories that come from household objects. Watching it (before reading the program), I was a little confused about what these three plays had in common. It’s not the most obvious triple bill, but after sleeping on the show and starting to write this review, I realised how these audiences are connected: four older characters reflecting and obsessing over their past: the good, the bad and the ugly.
Review: Glitter Punch at Flow Studios
Stacks On, a small indie company making theatre out of Flow Studios (an art gallery/performance space in Camperdown) are back with another intimate show. After the charm of April’s share house comedy For The Time Being, the team return on a more serious note with British playwright Lucy Burke’s Glitter Punch, a coming-of-age drama about…
Review: Benefactors at Ensemble Theatre
Frayn’s script, which won the Olivier Award for Best New Play in 1984, explores these two intersecting debates— fixing ‘broken’ housing and fixing ‘broken’ relationships— through the complex relationship between four wealthy middle-aged friends in 1960s London.
The narrative is told through alternating monologues and flashbacks… which meant that, despite Frayn’s obvious ability to write smart, punchy dialogue, it was very hard to get ‘sucked in’ to the drama of the play.
Review: Expiration Date at Meraki
Although obviously the work of a playwright who is still finding her voice, I think it is an admirable debut play that discusses important feminist issues. I’m sure that many couples in their twenties and thirties will find Expiration Date relatable in its exploration of the difficult conversations regarding having or not having kids. The one-location storytelling and brilliantly simple set were perfectly engineered for indie theatre, and the creative team should be applauded for achieving more with less.
Scribbles of Stage and Screen 