Call me a philistine and throw me to the Chekhovians. I don’t get. Maybe I started too young. Us drama types try and immerse in the canon early. I get Strindberg, I get Ibsen. Can’t blame it on my parents, can’t blame it on Chekhov. I mean other people get it. Do I need to get it? Probably not!
Imagine my surprise then. That in a place as strange as Marrickville, with thundering aircraft low overhead and armed with coke and chips because its going to be a sodding 2 hours long. Imagine my surprise to thoroughly enjoy what I might have called in a text to a friend beforehand… Fucking Chekhov. Continue reading THE SEAGULL: SOARING WORK BY SECRET HOUSE THEATRE→
“We fight. We win. We burn your land. We fight. We win. We carry on.”
When you see their wretched Union Jack flag, you know that BRITANNIA WAVES THE RULES embodies all the brutal reality of a soldier’s life. We follow disenfranchised, hot-blooded Carl Jackson’s dramatic journey, from his need to escape from Blackpool, England to becoming fully trained and ultimately sent as a sniper to the killing-fields on the front-line in Afghanistan.
Admirers of the great Russian playwright, on seeing Julia Baz’s very impressive production of Anton Chekhov’s masterpiece THE CHERRY ORCHARD, will appreciate the discerning casting, costumes, and mood enhancing lighting.
Best of all is the clean fresh look of the production, that cleverly takes full advantage of the L-shaped seating layout.