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Matthew Bourne’s Swan Lake

Swan Lake 3D©Chris Lobina for Sky Arts
Swan Lake 3D©Chris Lobina for Sky Arts

The swans have triumphantly returned to Sydney in this touring revival of MATTHEW BOURNE’S SWAN LAKE which has just opened for a short season at the Theatre Royal.

Readers might already be familiar with this ground breaking version now regarded as a modern iconic classic. This is the production with the deeply troubled Prince , the ditzy unsuitable girlfriend, the corgis and the ‘Moth ‘ ballet. It is also now famous for its male swans and the role of the Swan/Stranger, as first created and performed by Adam Cooper. Continue reading

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The Farewell Party

 

The Farewell Pie. (c) Pie Films. Max Hochstein
Ze’ev Revach and Levana Finklestein in The Farewell Party. (c) Pie Films. Max Hochstein

At the beginning of THE FAREWELL PARTY, Ezekiel, a resident of a Jerusalem retirement village, rings another resident on the phone from reception, claiming to be God, and telling her to keep up with her cancer therapy, not to worry, there are no vacancies in Heaven at the moment, but she is assured a reservation when the time is right.

This light hearted “playing God” takes on a weightier aspect soon after when the wife of a terminally ill friend in the same retirement facility asks Ezekiel to build a euthanasia machine. The patient is clearly in agony, medicine and machines merely prolonging his suffering, undignifying his life to mere existence as an excreting organism. Continue reading

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A Long Way Down

On the beach in Mallorca Spain filming A Long Way Down
On the beach in Mallorca Spain filming A Long Way Down

It’s baffling, to say the least, that the only cinema release that A LONG WAY DOWN is going to receive in Australia is at the Emirates British Film Festival.

Baffling because it boasts such a strong cast and its source material is well sourced.

Based on the acclaimed novel by Nick Hornby, A LONG WAY DOWN stars Pierce Brosnan, Toni Collette, Aaron Paul and Imogen Poots as four strangers who happen to meet on the roof of a London building on New Year’s Eve each with the intent of committing suicide. Their plans for death in solitude are ruined so they mutually agree to call off their plans for six weeks, forming an unconventional, dysfunctional family and searching together for the reasons to keep on living. Continue reading

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Jeunet does Disney

The incomparable Judy Davis as Smithsonian undersecretary Jibsen
The incomparable Judy Davis as Smithsonian undersecretary Jibsen

In THE YOUNG & PRODIGIOUS T.S. SPIVET, the director of Delicatessen does Disney. Well, sort of, maybe.

Don’t recall anyone in a Disney film dropping the F bomb! Still THE YOUNG & PRODIGIOUS T.S.SPIVET is very much a Disney echo being an amalgamation of Adventure, Frontier, Tomorrow and Fantasy, the lands inspired by Walt, and given full imaginative rein here.

T.S. Spivet lives on a remote ranch in Montana with his parents, his sister Gracie and his brother Layton. A gifted child with a passion for science, he has invented a perpetual motion machine, for which he has been awarded the prestigious Baird Prize by the Smithsonian Institution in Washington. He leaves a note for his family and hops a freight train to make his way across the United States and receive his prize. But no one there suspects that the lucky winner is a ten-year-old child with a very dark secret. Continue reading

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NT Live’s brilliant SKYLIGHT

This outstanding production of David Hare’s marvellous play was filmed in London’s West End under the umbrella of NT Live on July 17.

Written eighteen years ago by the great British playwright David Hare , and first performed in 1995 , this gripping, intense production  makes it feels as relevant, powerful and fresh as if it was written yesterday.

SKYLIGHT is superbly written and crafted, with humour, poignancy and biting wit. The political and personal are deftly interwoven as Hare shows us two people bound together by shared passionate memories of passion but separated by attitude, income and ideology.

Under Daldry’s magnificent direction the small cast of three ( Beard, Mulligan and Nighy ) are coaxed into giving brilliant performances.

Crowley’s set illustrates Kyra’s dingy ,cluttered ,messy , rather depressing housing commision flat at Kensal Rise .It is freezing cold and outside the trees are bare( although the snow does make them slightly prettier) . Walls slide away in a coup de theatre so we can see inside . (In the interval interview Hare says in effect that he set himself the task he had always wanted of writing a love story with just two people in a room).

The play begins and ends with Edward’s appearance but it is Tom and Kyra’s relationship that is the  heart of the play. Mulligan and Nighy are sensational, their performance crackles with the tension between them.

As Kyra, Mulligan is stunning, luminous, with huge sad eyes. Intensely focused, at times she has an almost feline aura of self possession, yet at others she glows with joyous memories of romance. She is fiery and passionate about helping her students, full of quiet determination.She has an impassioned monologue about her love for Tom, and how she had to flee once his wife Alice found out , but there’s also another monologue about her passion for her work and how she makes it bearable by listening to people whilst travelling on the bus.

She has a scathing, vehement monologue on the way politicians and journalists habitually trash social workers,which generated much spontaneous applause both in the theatre at the performance and from us in the cinema audience watching.

Nighy as Tom is tall and arrogant with an explosive temper that has a very short fuse. He stalks Kyra’s flat as if he owns it, kicking chairs out of the way and delivering his wonderful lines with perfect timing. .

A rich entrepreneur he can’t really understand Kyra’s leaving and choosing to live the life she does although he tries to. Nighy is craggily handsome and extremely charismatic.

When we first see him ,underneath his cashemere overcoat his suit is beautifully pressed and his shirt immaculate. Kyra accuses Tom of having no real understanding of ordinary people’s lives,– look at the way he treats his driver, Frank. His handling and opinion of the cheese Kyra gives him to grate, it is as if, as one of my colleagues remarked, it was radioactive .

Beard as Edward,Tom’s son, is tall thin, gangly and anxious to please. A tremendous performance. He dazzles Kyra at the end with the presentation of a huge splendid breakfast. One wonders at the end, whether a cycle involving Kyra and Edward, would continue?!

There are many issues raised including Tom blaming himself for Alice’s suffering and feeling she never really forgave him and always expected something back (did she? ).  Was it an accident that Tom left the incriminating letters that day on the table? Was Kyra morally correct in fleeing at the time once Alice had found out about the affair? Both Tom and Kyra battle with enormous guilt .

A brilliant performance where the two lovers Kyra and Tom rake over the ashes of their affair the play reminds us of both the hurt and anger of lost love, and has sudden piercing moments of enduring tenderness. It is a wonderful mixture of public rage and private hidden pain at our profoundly unequal and polarised society.

Running time –allow 2 hours 45 (approx) which includes one interval and  an interview with David Hare.

An NT Live production, cinemagoers can still catch SKYLIGHT this coming weekend. SKYLIGHT is screening this weekend at the Palace Chauvel and Riverside Parramatta and the Cremorne Orpheum where it is also screening on Wednesday 5th November.

Festival

Sydney Festival 2015 preview

January is a lazy languid time in Sydney, so it’s slightly unfair that the art lover’s idylls should be rudely interrupted – but in the best possible way – by the massive feast of cultural events that is the Sydney Festival.

Like a refreshing summer shower, some of the festival’s most appetising events are fleeting, lasting for only one or two nights; others, like a lingering heatwave, bask the greater Sydney region in their glow for weeks.

This year’s 179 events spread from the CBD to the Blue Mountains, 85 of them are free and there are almost 500 performances in total. Eight of them have exclamation marks in their title (one even has two!!) so expect some very exciting shows!

As always with the Sydney Festival, it’s best to get in early: by the time you hear about them they have may have vanished or sold out.

Here’s a heads up for just some of our favourites.

The Night Dances:

Movie star Charlotte Rampling and renowned cellist Sonia Wieder-Atherton combine two of the most important voices of the 20th century. American writer Sylvia Plath and British composer Benjamin Britten are brought together in a rare performance of her words and his music.

Far From Folsom: 

Tex Perkins heads behind bars to embody the spirit of Johnny Cash. Delving into the country music star’s dark repertoire, he recreates Cash’s seminal 1968 Folsom Prison shows within the haunting surrounds of Parramatta Jail.

Timber!: 

Canada’s Cirque Alfonse promises whip-crackin’, log balancin’’ and axe-jugglin’ galore, with banjo-pickin’ and blue-grass playin’ thrown in for good measure. Three generations of circus performers include 67-year-old grandpa in a show for all the family.

Disco Dome: The lost discotheques of Parramatta:

This after-dark walking tour will get you struttin’ your stuff through the streets of Parramatta as you revisit the era of 1979-95 when the city shook its groove thing. Bump your booty through music, architecture, history and the streets and get on up to digital/sonic/live artworks.

Masquerade:

Kit William’s much-loved children’s book is brought to life in a magical tale that will enchant audiences from nine to 90, starring Wicked’s Helen Dallimore and with music performed live by Mikelangelo and the Black Sea Gentlemen.

Atomic Bomb! The Music of William Onyeabor: 

The sounds of Africa will have everyone on their feet dancing to the futuristic grooves of Nigerian synth pioneer and music legend William Onyeabor. Features a star studded line-up headlined by Gotye, Sinkane, Money Mark (Beastie Boys), Luke Jenner (The Rapture), Alexis Taylor (Hot Chip), Pat Mahoney (LCD Soundsystem) and the legendary Mahotella Queens.

Wot? No Fish!!:

For more than 50 years, shoemaker Ab Solomons drew a picture on the weekly wage packet he gave his wife Celie. These images chronicle family life in the East End of London from the 1920s to the 1980s and inspire this performance, which is like a graphic novel brought to life.

Long Grass:

Take a trip to the Top End and discover what it means to be a homeless Aboriginal living on the fringes despite being in the heart of the city. Choreographer Vicki Van Hout’s dance-theatre work combines weaving, shadow play, text and sparse video with an idiosyncratic dance language.

Nothing to lose:

Artistic director Kate Champion collaborates with artist and fat activist Kelli Jean Drinkwater to celebrate the sculptural splendour of the fat dancing body.

Limbo: 

This dirty and dangerous circus-cabaret sold out early last year, so get in early for this sinister netherworld of jaw-dropping contortions, gut-churning aerial acrobatics, nail-biting stunts and staggering illusions.

Waterfall Swing: 

Popping up in Darling Harbour for the enjoyment of the young and not-so-young alike, Waterfall Swing is a large-scale summertime play set with one crucial twist – using sensory programming it lets you swing right through the waterfall.

About an Hour:

The hugely popular festival within the festival, About An Hour, returns but moves to a new home at the Seymour Centre for five days of diverse 60-minute-ish morsels spanning theatre, dance (including Long Grass), cabaret, music and comedy. Tickets are just $35 or less.

Sound/On Sound: 

From art installations to performance, theatre and music: Sound/On Sound features four world-premiere works, including an immersive large-scale paper labyrinth by acclaimed British artist Mira Calix, an affecting new Australian work by Tamara Saulwick, a chilling monodrama by David Chisholm based on text by Mark Ravenhill, and a moving depiction of loneliness by Greg Barrett.

Concerts in the Domain: 

A special Summer Sounds in The Domain concert with Seu Jorge will have the South American superstar’s samba sounds kick-starting summer in Brazilian style. Symphony in The Domain has a new addition with ARIA-award winning William Barton on didgeridoo alongside the Sydney Symphony. Opera in The Domain showcases the brightest operatic stars.

… and the Festival Village is back

Hyde Park’s popular Festival Village returns with a variety of thrilling circus and cabaret shows, activities and almost 40 contemporary music performances. Open day and night, the Village is an oasis of arts, eats, beats and other treats.

Audiences can enjoy all the entertainment on offer in the magnificent surrounds of The Famous Spiegeltent and The Aurora Spiegeltent, and climb through Maser’s multi-dimensional giant art installation, Higher Ground. Rising up two storeys, the work’s colourful explosion of stripes and shapes is the closest thing you will get to stepping into a painting.

The 2015 Sydney Festival runs from 8 January to 26 January and tickets are now on sale.

The Marais Project : Re-Imaginings

The Marais Project : Re-Imaginings

Bassist Siebe Pogson. Photo by Natasha Civijovski
Bassist Siebe Pogson. Photo by Natasha Civijovski

2014 marks the fifteenth anniversary of the commencement of THE MARIAS PROJECT. This institution, in which viola da gambist Jennifer Eriksson with her contemporaries in early music performance set out to perform the entire oeuvre of Marin Marais has already performed eighty-five per cent of Marais’ total output.

The last fifteen years of the Marais Project have put a very pleasurable focus on the agility and sonority of the viola da gamba as well as early music concert programming. Continue reading

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It’s the Stones, Man!

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THE ROLLING STONES , Adelaide Oval, 25/10/14,

Just writing ROLLING STONES CONCERT has a mystique that causes the heart to quicken, and feelings of awe and almost scary anticipation. When the day arrives you make your way to this grand old revered venue where many  legendary contests have been fought and one, and you join the throng as fifty thousand devotees come to worship at the feet of the most iconic group of entertainers the world has ever known. Indeed one fan did make it on stage to Jagger’s feet before he was pounced on  and bundled off unceremoniously!

Why is it so exciting? How does this bunch of geriatrics, (Jagger is seventy, for God’s sake!), hold so many entranced for two hours so easily? Why was there not a second thought about flying interstate and being squashed like sardines into tram and bus just to  get to the venue? It’s the STONES, man! Continue reading

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The Wit of Joan

Joan Rivers

My house if filled with books and my life is a continuous book read from classics to prize winners, from murder and mystery to love and challenges and the odd book that makes me laugh. There aren’t too many funny books around,  I have found.

I have always been a big fan of Joan Rivers and once trotted along to a crowded theatre full of gay guys when she performed at a Sydney venue some years ago, Pity I hadn’t taken along a spare pare of knickers, I laughed so much… Nowadays, when there’s a big rainfall, I think that they’re all pissing themselves laughing in the great yonder in the sky listening to the newly arrived Joan.

Up until today, I have been having breakfast with Joan on my ipad reading her ‘Diary of a Mad Diva.” Continue reading

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Amadeus

The team, cast and crew, behind AMADEUS. Pics Mark Banks
The team, cast and crew, behind the Genesian’s current revival of AMADEUS. Pics Mark Banks

“I don’t believe it” are the gossiping words declared ironically and repeatedly by the court ‘whims’ Venticello and Venticella as bookends to the opening and closing of Peter Shaffer’s 1979 play, AMADEUS. Hapsburg Court musician and composer for Emperor Joseph ll, Antonio Salieri has declared on his death bed that he murdered Wolfgang Amadeus Mozart via poisoning and the Viennese court of the early 19th century is buzzing with the news.

Whether it’s true or not (and there’s significant debate that suggests it’s a greatly exaggerated antipathy), it’s a ripping tale and far more interesting than a bit of petty jealousy. In Shaffer’s hands, Salieri becomes a full blown tortured protagonist, possessed by the demon of jealousy, causing him to renounce his faith, break his marriage vows and rail against a God who gave a divine gift to an essentially childish, giggling and foolish man – Mozart. Salieri’s duplicity in appearing to befriend Mozart, while blocking and destroying any opportunities for Mozart’s advancement or even financial stability is the basis of this tale of spiraling envy and despair. Continue reading

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The Rosie Effect

Author Graeme Simsion
Prolific , best selling author Graeme Simsion. Pic Michael Clayton-Jones

THE ROSIE EFFECT by Graeme Simsion is a sequel to his quirky first novel:– The Rosie Project which imbued with warmth sold over one million copies and was published in thirty eight languages.

In the ROSIE PROJECT the protagonist Don Tillman writes himself a questionnaire to find the perfect partner. Rosie is not the type he would have chosen and Don, who is inflexible in his routines, has to throw his schedules out the proverbial window. Continue reading

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Miracle City Resurrected

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I confess to a bit of stress sweating in the first ten minutes of MIRACLE CITY.  I really felt like I was in the audience of an evangelical television program and this made for very uncomfortable viewing.  Just a bit too realistic for a traditional girl like me.  I swear if they had passed around a plate I would have been diving into my purse for some change.  This is a real time show which purports to happen during the live-to-air broadcast of that specialized Tennessee brand of family preachers and tele-evangelists in the Jim and Tammy Faye Baker mould.

In revival at the Hayes Theatre in Potts Point, MIRACLE CITY gives us the Truswells.  Initially presenting as the ideal family of faith, Lora-Lee (Blazey Best) and Ricky (Mike McLeish) are celebrating a 20 year marriage.  Witnesses to their love story are their 16 year old daughter, Loretta (Hilary Cole) and her younger brother, Ricky-Bob (Cameron Holmes). Together the family has a vision for place called Miracle City, an amusement park for faith and fun.

Supporting the TV funds drive are the Citadel Singers (Marika Aubrey, Esther Hannaford and Josie Lane) and stage manager and preacher-in-training Billy (Jason Kos). The need for money to build this place for prayer and play is the driver of the story and brings the Rev Millard Sizemore (Peter Kowitz) into their family.  His help is conditional though and Ricky has to make a horrible decision.  And …well … Ricky is a bastard as far as I’m concerned.  See … I’m too involved!

MIRACLE CITY was first produced in Sydney in 1996 and after brief, bright flame of 4 weeks flickered out as the creative forces behind it moved on.  Written by the late Nick Enright with music from Max Lambert (who is Musical Director for this revival), the original director was Gale Edwards.  That season is spoken of in legendary terms.  Luckily we have Darren Yap to direct this renewal. He worked as Enright’s assistant in 1997 when a modified version was produced for WAAPA. Yap’s program notes indicate that this show includes influences from that outing.  With this pedigree, there would be a danger of making this a reverent affair but instead of baggage we have an exuberant, entertaining production with a big wow factor for such a small space.

The theatre is stripped to a black box and the set looks like nothing.  Just a large act curtain in a cable channel TV studio.  Yes, but a curtain that closes to hide, can also be opened to reveal.  The costumes too, look simple.  80’s glamour, nice suits, beautifully tailored ecclesiastical uniforms, red and blue or gold and black as the palette.  They too, hide and reveal.  Especially in the final scene.

And if we are talking about secrets hidden and conversations revealed, rich ambers contrast with glaring white lighting states to, literally, put the hypocrisy into relief.  In addition, the choreographer’s hand is not just evident in the movement to music but in the movement into on-camera personas and the donning of the ‘sugar smiles’.

Set Designer Michael Hankin, Lighting Designer Hugh Hamilton, Choreographer Kelly Abbey, Costume Designer Roger Kirk and Wig Designer Ben Moir have created the perfect structure for the cast to tell the story.

Everyone in this show is terrific and each performer brings their own story on with them.  The characters travel their arcs with absolute believability.  The voices are great and blend beautifully, the emotions are raw and available.  As I looked along the line of cast and band members when they took their bows, I was thinking that I couldn’t single out any one performance over another.  When they came back for the second bow, this ensemble didn’t form another line.  They clumped together on centre stage and that grouping said it all.

All the songs in this show are stand-alone gospel songs in a variety of styles from the rollicking “Raise the Roof” to a superbly rendered ballad, “Moving On”.  The proselytization was very well realized and several times during the show my suspension of disbelief threatened to draw an ‘Halleluiah’ to the lips.  There was a full house and a well-deserved standing ovation so you should get your tickets as soon as you can.  This highly talented group of artists may well move on after this season and another incarnation of MIRACLE CITY will enter the annals of theatre-lore.

 MIRACLE CITY is playing at the Hayes Theatre until November 16th.

 

 

 

Calpurnia Descending

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Hilarious camp comedy and serious Shakespearean drama mixed with 1930s melodrama are some of the diverse ingredients in the very entertaining drama CALPURNIA DESCENDING.

Ash Flanders and Declan Greene are the creative force behind the Sisters Grimm and are responsible for this anarchic mixture of live theatre and video projections.

Violet St Clair delivers a singing telegram to a faded theatre legend Beverley Dumont. Of course, Violet St Clair is an aspiring actress who stumbles across a director and a producer of a theatre that has just lost the leading lady as rehearsals are getting underway. Every cliché is joyously used in a loving tribute to New York’s golden age of theatre and the classic Hollywood films of the 1930s and 1940s. Continue reading

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A Nunsense To Remember

Melissa Goman as Sister Robert Anne

In our current world where a nun just won X Factor Italy and released a cover of Madonna’s “Like a Virgin” we are perhaps more than ready for Bankstown Theatre Company’s (BTC)  energetic revival of NUNSENSE. Benedicte, BTC for sprinkling fresh holy water from an almighty font of talent on this comedy classic. The ambitious Sisters of Hoboken staging a benefit to bury the food poisoned within their order are brought to life in all their individual glory. Continue reading

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Ottoman Baroque: Brandenburg and the Whirling Dervishes

Ottoman Baroque: Brandenburg and the Whirling Dervish. Pics by Steven Godbee
Ottoman Baroque: Brandenburg and the Whirling Dervish. Pics by Steven Godbee

This was a very exciting and captivating concert that in the first half looked at the 17th century European fascination with all things Turkish and in the second half we heard music from Greece and Turkey .

Under the energetic and enthusiastic direction of Paul Dyer, leading from the keyboard, the Brandenburg played exquisitely. Our narrator, Alan Maddox, looking severe in theatrical black, explained certain points , established context, explained various items and read letters from that period. He guided us on a spiritual and musical journey across Europe from West to East.

The concert began with Lully’s ‘Marche pour le ceremonie des Turcs ‘ from ‘Le Bourgeois Gentilhomme’ which, with stirring drums, had a martial feel yet was also full of delicate strings. Continue reading

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Do you believe in love?

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One of the highlights of this year’s Jewish International Film Festival is the short and sweet documentary DO YOU BELIEVE IN LOVE?

In the digital age the time honoured vocation of matchmaker has had a battering but like so many traditions, it has endured in modern Israel, thanks to people like Tova Shamison.

Matchmakers have been immortalised in motion picture musicals like Hello Dolly! and Fiddler on the Roof, but melody has been replaced with malady in this surprising and subtly inspiring film. Continue reading

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Anyone Can Whistle

 

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Production photos care of nickandnickphotography

Sydney University Musical Theatre Ensemble’s (MUSE) production of Stephen Sondheim’s ANYONE CAN WHISTLE is performed by a group of talented and highly energetic and committed performers. The show is, in part, a social satire and a sharp critique of modern society, breaking the fourth wall, acknowledging itself as theatre and sometimes not following a logical, linear structure.

This Sondheim play is also partly a musical romantic comedy, complete with love songs and happily ever after scenarios for the hero, the heroine and even the villains.

The town in ANYONE CAN WHISTLE is in serious financial trouble and needs a miracle. The scheming Comptroller has a solution and supported by Mayoress Cora creates a water spouting rock and calls it a miracle. Yet when Nurse Fay Apple brings her ‘cookies’ from the local mental institution, the Cookie Jar, to cure themselves, chaos ensues as patients and residents become mixed up. From there the plot twists and turns till all is well – well almost – at the end. Continue reading

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Glory Days

Damon Grebert-Wade, Julian Kuo and Aaron Robuck- three parts pf the four cast members of GLORY DAYS
Damon Grebert-Wade, Julian Kuo and Aaron Robuck- three parts pf the four cast members of GLORY DAYS

In the entertainment Industry you have to make your own opportunities. The work doesn’t just come to you because you have drive and talent. Exclaim Theatre Company has the stated aim of providing opportunities for the professional growth of the alumni of AIM, the Australian Institute of Music. In GLORY DAYS, a one-act musical which is the company’s second outing, four talented young men have the stage.

It is a year after their graduation from some small town American High School and four best friends meet on the football field where they bonded though being crap at football and bullied by Jocks. Continue reading

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Becoming Poison at the El Rocco Room

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Holly Summers-Clarke as Batman’s nemesis Poison Ivy. Pics by Kurt Sneddon at Blueprint Studios

Despite its venomous title, BECOMING POISON is a very gentle experience. Most cabaret shows hit you over the head with a rolled up toe-tapper right at the off. Instead, we are treated to two quiet ballads to ease us into a musical floriade of Jazz, folk, contemporary pop and music theatre.

BECOMING POISON is a concept from the mind of Sydney Fringe favourite, Holly Summers- Clarke. With Rodney Fisher (writer/director) and Joel Jenkins (musical director) as her collaborators, she attempts to rehabilitate that super villain and Batman nemesis, Poison Ivy. In this imagining, Ivy is an eco-warrior rescuing the flora of the earth from its human enemies … one poisonous kiss at a time. Continue reading

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OPEN FOR BUSINESS: The Wharf Review 2014

The clowns are back for their 2014 gig. Phil Scott and Douglas Hansell in The Wharf Revue 2014
Those splendid, clever clowns are back again for their 2014 gig. Phil Scott and Douglas Hansell in The Wharf Revue 2014

You don’t take a long walk off a short pier but you do take a long walk down a long pier. But last night it was certainly worth it to see Sydney Theatre Company and The Wharf Review’s latest offering: OPEN FOR BUSINESS at the Wharf 1 Theatre.

I was lucky enough to sit next to leading Sydney theatre actor, Peter Carroll, (currently rehearsing A Christmas Carol at Belvoir, which I promised to review), who opined that writers of revues are not given the recognition they deserve considering how clever, accurate and funny their work often is. Last night was all of that and entertaining, even inspired in many instances. This outstanding talented group of writers and performers took aim at everyone in federal politics from speaker to PM and from Greens to P.U.P. in a high energy, tuneful rollercoaster that grabbed our attention from the start! Continue reading

Performing Arts, Literary Arts and Visual Arts Reviews