Review: Chef at KXT

Ultimately, Chef was not for me. I found it hard to sit through the show’s grim tone and violent subject matter. While Birbara’s performance has been widely praised, I struggled to connect with her character and her performance.

Review: Blue at Upstairs Belvoir

Blue floored me. The past few days I’ve spent thinking about this play, I haven’t been able to find one flaw or thing I would do differently. The entire creative team, and particularly Weatherall and Brown, should feel incredibly proud of what they have achieved. They have set the bar extremely high for 2023 theatre, and I look forward to seeing if anyone else can top it.

Review: Australian Theatre Live & Emerald City

Australian Theatre Live has arrived and it’s the perfect compromise if you find yourself unable to go to the theatre for whatever reason (geographic, financial, Covid-19, etc). The new theatrical streaming service takes it inspiration from the success of National Theatre Live in the UK, offering high quality video recordings of mainstage theatrical performances. The…

Review: Tongue Tied at KXT

Tongue Tied is an incisive representation of a media culture that often prioritises publishing ‘scandalous’ news over the wellbeing of victims (see: the EJ Norvill Geoffrey Rush case).

I loved the contemporary and urgent subject matter of the play, and it made me think deeply about the many real-world examples that parallel the events of the play.

Review: The Dazzle at Meraki Arts Bar

I left the theatre unsure of what I was supposed to get out of The Dazzle.

Maybe this is a simple matter of personal taste, and maybe I’m just not amenable to Greenberg’s style, but this production didn’t click for me.

I struggle with writing reviews of plays I don’t like, especially when those plays are created by indie companies because I know how hard it is to be an indie artist, and I know how much love is poured into these productions. However, I can’t pretend to be objective as a reviewer, I can only interpret and critique art by drawing on my own experiences and tastes.

Review: The Italians at Belvoir 25A

The Italians is a farce that thrives on chaos and silliness. It’s not the most coherent script, but that haphazard quality is what makes it so charming.

The Italians has the energy of a university revue or high school play. It doesn’t always make a lot of sense, but everyone’s having so much fun that you don’t really care.

The Monologue Collective Mini-Review

These monologues successfully captured the feeling of being 17, with all the angst and humour and romance that comes with it. These young writers are ambitious and in-tune with the concerns of their peers. The topics explored included young queer love, the pressures of high school, grappling with grief as a teenager, and young women’s relationships to their mothers.

Review: Fangirls (2022) at Sydney Opera House

I truly believe Fangirls has the potential to play on a Broadway stage one day, and hope it continues to grow and improve with each iteration. Fangirls is a joyful, hilarious show that demonstrates an incisive understanding of contemporary fandom culture in the internet age, and I can’t wait to see it staged again.

Review: STC’s Chalkface at the Sydney Opera House

As a political commentary about how some of society’s most important and hard-working individuals—teachers—are systematically undervalued and overlooked, Chalkface succeeds. However, as a comedy—which the play is marketed as—Chalkface is a disappointment.

Review: Looking for Alibrandi at Belvoir

Looking for Alibrandi is a thoughtful depiction of a teenage girl torn between cultural identities, and a moving tale of mothers and daughters. Ultimately, I was disappointed by the director and designer’s use of the Belvoir space. While the production lacked the warmth of the original writing, the funny, loving lead performances of Macri and Mastrantone are a joy to watch, and it is well worth seeing.

Review: The Lifespan of a Fact at STC

The script is not subtle in its moralising about facts versus art, but it is effective. STC’s marketing evoked Aaron Sorkin, which is an apt comparison. Jim is agonisingly pedantic about the facts, and John is a pretentious egotist. Neither of them are fully likeable, and neither are 100% right or wrong— the writers let you decide where you fall. Jim and John’s battle is the clash of pragmatism and high-mindedness, a battle against what is correct, and what is dramatically compelling.

Anatomy of a Suicide: One of the Best Plays of the Year

Birch’s script is complex, ambitious, and tightly constructed. For almost all of the play, these three women and their stories of motherhood exist on stage simultaneously, defying realism in favour of compelling and abstract storytelling. Birch boldly raises big questions about fate, mental illness and intergenerational trauma.