Belvoir has announced that Alana Valentine will present The Myth of the General Audience as this year’s Philip Parsons Memorial Lecture, to be held at the Upstairs Theatre at Belvoir St Theatre on Monday 3rd December.
So … I went a few years ago to visit my friend who lives alternatively in the bush. Her life is subsistent but she makes a bit of cash as a feral pig hunter. She is surrounded by dogs of all kinds. Many of them scarred and scary. Her advice to me, should I ever need it. If there is a pack of dogs causing trouble, in the middle there will be a little one who is meanest, fiercest and smartest. That one started the fight. This brings me to Barbara of BARBARA AND THE CAMP DOGS.
Sydney theatre lovers will get a brief window of opportunity to see Australian playwright Gina Shien’s poignant play MORGAN STERN based on her brother’s battle with schizophrenia.
In Schien’s quirky play, a character named only as The Gent, part ghost, part protector, has been assigned from the other side of the planet to help Morgan, a young Sydneysider afflicted with schizophrenia.
The play shifts between centuries and across hemispheres but remains primarily set in a still difficult to know corner of the universe – the human brain.
The production, mounted by Company of Rogues, will play Belvoir Street downstairs for two performances only in early July. Then in August the Company are very excited to announce that it will have its international debut at the Edinburgh Festival which turns 70 this year.
DATES FOR YOUR DIARY:
MORGAN STERN will play downstairs at Belvoir Street on July 1 at 7.30 pm and July 2 at 5.30 pm.
Greta Driscoll (played by Ellen Steele) is about to turn fifteen in 1970s Australian suburbia, and without any consultation, her controlling parents have organised for the entire school to attend her fifteenth birthday party. Greta falls asleep in her bedroom, and we experience her vivid dreams, as a magnificent costumed fantasy with spellbinding visuals.
There is a lot of skill evident in BLUE WIZARD, playing at Belvoir Downstairs at the moment. And it’s right there and up close in this intimate venue.
There are true moments of engagement. There is really accomplished puppetry from the beautiful and skilled, Nick Coyle who wears his heart and sexual orientation on his sleeve. There is a flashy but never excessive lighting design from Damien Cooper combined with a sound design that is subtler than the noise you consciously appreciate (Steve Toulmin). There is Belvoir Artistic Director Ralph Myers as Design Consultant ensuring a unified space and Belvoir Resident Director, Adena Jacobs, as Dramaturg influencing some very moving moments. Continue reading Blue Wizard @ Belvoir Downstairs→
The setting for RADIANCE at Belvoir is created of wood and stone and water. Onto this set arrive three characters. They are sisters. Indigenous and elemental in the way of the wood and the stone and the water that has shaped them in this beach shack in stifling North Queensland.
We meet Mae who has been the carer for a mother with Alzheimer’s. Mother has died and Mae is obviously not coping. Her plan to burn down the house, starting with the squatter’s chair in which her mother died, is thwarted by the arrival of Nona. The youngest daughter has travelled there for the funeral. Also, to see if there will be any money from the sale of the tumbledown hovel. Continue reading Radiance @ Belvoir→
Sydney Arts Guide is a key part of stage and film culture, and exists to celebrate the art of performance, in theatres and cinemas.
2014 was a year of amazing diversity, and our twenty accredited specialist reviewers, were all spoiled for choice in the quality of the live theatre performances to be experienced in the City of Sydney, and the suburbs of Sydney.
As the old adage goes, “live theatre is not dead theatre, as there is a different performance to be experienced every night”. Our team of professional reviewers, have each nominated their personal preferences for both theatre and cinema. A small number of movies were nominated out of the hundreds of cinema films that were seen during the last twelve months.
At the end of another outstanding year for the arts in Sydney, on Wednesday 31st December 2014, Sydney Arts Guide announced its 2014 awards in these Stage and Screen categories:-
Merry is not quite the word for A CHRISTMAS CAROL playing during the Festive Season at Belvoir. The show is definitely Christmassy, definitely snowy, but it is the faithfulness to the original text which gives the show its dimension. Modernised in places and with Australian accents, the production retains the Dickensian darkness to give a depth of thought to stay with you after the flurry has melted away.
Ebenezer Scrooge (Robert Menzies) is hunched over a large ledger when the audience enters the space. Bob Cratchit (Steve Rodgers) is working faithfully beside him. After an uncomfortable visit from his nephew Fred (Eden Falk), Scrooge reluctantly closes up for the day and heads home to his bed as Bob joyfully heads home to his family. It is at 1 am, in bed, that Scrooge encounters the tortured ghost of his dead business partner, Marley (Peter Carroll).
Rest will not come easy to Scrooge on this Christmas Eve. He will be visited by Christmas Past, Christmas Present and Christmas Future. These apparitions bring him back to the love of humanity he knew as a small boy. In this way, will he avoid the fate of his dead partner? Continue reading A Christmas Carol @ Belvoir→
FOOD is a magnificent collaboration between Force Majeure and Belvoir St and was originally seen downstairs at Belvoir in 2012. The script has been devised by co director actor/playwright Steve Rodgers.(Warning there are at times lots of strong language) .The result is a glorious fusion of physical theatre, straight drama and dance.
Champion’s choreography includes everyday movement, and fragile, tender, intimate gestures incorporating orchestrated incidental movement in slow-mo: imagined vignettes; thoughts expressed, physically, aloud; gestures of tender, gentle touch the characters wish they could lavish on each other, if only it felt safe, permissible and possible to do so. Champion has gone for intense nuance rather than a theatrical-choreographic combination , yet she also features a small solo or interactive sequence in which the characters express their innermost authentic feelings, as they transcend the roles that they have been cast in.