Have you been sitting on a restaurant idea and looking for a great place to launch your brand? If so, the Darlinghurst Theatre Company (DTC) would like to hear from you.
DTC is looking for a new stand-alone restaurant to partner with at its stylish venue, the Eternity Playhouse at 39 Burton Street, Darlinghurst. After a long stay at the theatre, the Two Trout restaurant is moving on.
The brief for the new restaurant in residence is for it to create a dining experience that is ‘personable, creative, seasonal and made for sharing’.
The contact person is Event Producer and Development Consultant Mason Browne. Mason’s email address is firstname.lastname@example.org. She will organise a meeting and a tour of the facility.
Expressions of interest close midnight Sunday 31 January.
The Company should get a good response. It’s an attractive proposition, to run a restaurant inside one of Sydney’s newest, most elegant theatre venues.
Darlinghurst Theatre Company’s BLOOM Festival has transformed the Eternity Playhouse into a vibrant cultural hub for the summer, with live music, delicious dining, and a diverse offering of performances in our new cabaret space and theatre auditorium.
The festival is a coming together of artist and audience to discover the potential of what art and performance can be in this moment.
“If it’s light-hearted frivolity you need right now, we’ve got you. If you’d like to join the conversation and hold space for others, we’ve got that too. There is no right or wrong way to come out of a pandemic.” says Amylia Harris, our Co-Artistic Director and Creative Producer. Experience it your way.
Featured image: Dyan Tai at our Resurrection Ball. Pic Robert Catto
This is the Darlinghurst Theatre Company’s first commissioned work. The Company wanted to put together a play that responded to the #MeToo movement that originally came out of America. The premise was to document positive, articulate responses to the movement and detail some stories of the obstacles and struggles prominent Australian women have had in their own lives and careers .
What has resulted is ‘documentary’ theatre at its best. The voices of The Hon. Dr Anne Aly, Julia Bates AO, Dr Marion Blackwell AM, Pam Burridge, The Hon Julia Gillard AC, Nikki Keating, Professor Marcia Lanngton AM, Sister Patricia Madigan PHD and Erin Phillips came through as they each made important contributions to the night.
These distinguished figures were played by a wonderful cast of talented actresses. They were Gabrielle Chan, Shakira Clanton, Lynette Curran, Deborah Galanos and Emily Havea. Their performances were nothing short of exemplary.
As well as being the director Victory Midwinter Pitt was the lead writer and she was helped by Amelia Collingham, Michelle Lee, Maeve Marsden, Libby Wood and Jordan Raskopoulos.
This was a great night at the theatre. See it if you possibly can.
I’M WITH HER is playing the Eternity Playhouse until Sunday 1 December, 2019 . Running time just under 3 hours.
Darlinghurst Theatre Company is now taking submissions for the 2019 Season!
“This time of year is important for us as it embodies the core values of our artistic policy. Darlinghurst Theatre Company is unique in Australia – we are the only theatre company working under an artist-submissions model that produces and fully funds all our artists’ work including paying artists a living wage.” Continue reading DARLINGHURST THEATRE COMPANY 2019 SUBMISSIONS NOW OPEN→
This was such a fun show. Make it an Act of Will to get yourself over to the Eternity to see it.
American Emmy Award winning comedy writer David Javerbaum’s comedy is an anarchic, wild flight of fancy. Much loved Sydney theatre performer Mitchell Butel plays the part of God. This God has grown weary of the Ten Commandments, He has come to correct mankind’s dire misconceptions about his teachings and delivers a radical re-write. Continue reading AN ACT OF GOD @ THE ETERNITY PLAYHOUSE→
Silent is not the word to use for the first act of SILENT NIGHT from Darlinghurst Theatre. Some witty single adjective encompassing laugh out loud, occasional hysterical giggle or cringing gasps of recognition might give some inkling of what’s in store for an audience. It has some really funny moments and some excellent jokes, even a few well executed sight gags. It’s light and fun and aimed intelligently at those of us who think Christmas is just a titch over-commercialised. The second act however is a different beast. A seven headed beast which sits uneasily in the Christmas setting. Continue reading SILENT NIGHT: TIME TO GET THE XMAS LIGHTS OUT→
Along similar lines to his most well known play Insignificance, (also made into a film directed by Nicolas Roeg), British playwright Terry Johnson’s play HYSTERIA features well know characters from history. In Insignificance we had Marilyn Monroe, Joseph McCarthy, Joe DiMaggio and Albert Einstein. In HYSTERIA we have Dr Sigmund Freud and Salvador Dali.
It is only a very brief time after we have taken our seats and the house lights have gone down that we are just taken over by the world of VENUS IN FUR.
The play’s action take place in a theatre rehearsal/warehouse space. The main features are a writing desk, (alongside is a small table with a kettle on top), and an expansive chaise lounge close to the centre of the stage.
We hear sounds of a wild electrical storm taking place outside- portentous that plenty of drama is also going to take place within these walls.
Our attention is drawn to Thomas, a jaded theatre writer/director who is trying to cast an actress for the lead role in a new play that he is going to stage, his adaptation of a nineteenth century S and M novel.
He is having a rough time of the process. We hear him on the phone to a friend saying that none of the actresses that have come through so far have been any good and that he doubts that he will find a suitable actress.
And then in through the door walks Vanda, a startling, attractive woman wearing a brown trenchcoat and carrying a mangled umbrella She has come to audition for the part and is coming on very strong.
At first Thomas is contemptuous of Vanda. He just wants her to leave. Vanda, however, won’t take no for an answer. In the end Thomas relents and an audition of sorts begins to take place.
As they start working on the script, we soon cotton on that there is much more to Vanda than she is revealing. How comes she seems to know so much more about the script than she should? Further, how come she knows so much about Thomas’ private life?
Where is this going? Brilliant American playwright David Ives has well and truly hooked us in….How is this going to play out?!
VENUS IN FUR, to use Bette Davis’ famous phrase, proves to be a very bumpy, action packed ride. Ives mixes things up so much to forever keep us hanging. What is equally rewarding is that the play delves deeply into the Battle of the Sexes…We are enthralled by the intriguing, mesmerising, sometimes dangerous and at other times very erotic dance that takes place on stage between Thomas and Vanda.
There is so much to this piece, so many different allusions and ‘ripples’ going away everywhere, that it would take at-least a few visits to take it all in.
Grace Barnes’ direction is flawless. She wins good performances from Anna Houston and Gareth Reeves. They totally inhabit and plumb the depths of their complex, many sided characters. Anna Houston employs a kind of creepy walk to personify her character.
Gareth Reeves’ Thomas comes across as an urbane, sophisticated thespian and then he shocks us by delivering a vicious, sexist diatribe Vanda’s way.
Barnes’ creative team do great work: Sian James- Holland’s lighting, Jessica James-Moody’s soundscape are both effective. As is Mel Page’s set and costume design. This is one of these pieces where both actors are constantly changing garb which sometimes also changes the way that they behave.
Recommended. Easily one of the most exciting shows this year so far. VENUS IN FUR is playing the Eternity Playhouse until the 5th July.
Devilishly dramatic and fiendishly funny, DEATHTRAP is a sure fire entertainment for those who like their fireside thrillers.
Written in the late Seventies by Ira Levin who should be quite apt at matters diabolical, being the author of Rosemary’s Baby, Darlinghurst Theatre Company’s production sets the situation in that era which gives it a cosy nostalgia, being the time of typewriters, carbon paper and Xerox machines.
DEATHTRAP is a play within a play and plays fast and close with the conventions of the mystery whodunit associated most immediately with Agatha Christie.
The very title alludes somewhat to the long running phenomenon that is The Mousetrap, although DEATHTRAP is a much more sophisticated example of the genre more akin to Anthony Schaffer’s Sleuth, which gets a mention, once or twice, in self-referential drollery.
This production headlines Andrew McFarlane as the playwright, Sidney Bruhl, a celebrated scribe on the brink of bankruptcy, both material and intellectual.
As a master of the mystery play, he is confronted by upstart new kid on the theatrical blockbuster block, Clifford Anderson, played with dash by Timothy Dashwood, and the double temptation of perfect plagiarism facilitated by the perfect murder become palpable.
This applecart of chicanery is capsized by a clairvoyant from the land of clogs, a deliciously comedic turn from Georgina Symes.
Giving sensational support to this brio trio, is Sophie Gregg as Sidney’s slighted spouse and Drew Fairley as Sidney’s slippery solicitor.
Michael Hankin’s set is a triumph of Seventies chic, a stone den with flued fireplace and a trophy wall, a veritable arsenal of antique armaments.
Verity Hampson’s lighting design is adept and Katren Wood’s costume design nails the tans, beiges, and tawnies of the time.
Composer and sound designer Marty Jamieson totals the timbre and timing of the piece and the whole comic carnage caper is capped by Jo Turner’s cantering to a gallop direction.
Sharp shocks, twists and turns, GBH and ESP – this DEATHTRAP is worth getting caught in.
DEATHTRAP is playing the Eternity Playhouse, 39 Burton Street, Darlinghurst until the 10th May. Performance times Tuesdays to Saturdays at 8pm and Sundays at 5pm.
Reverence My Sanctuary is inscribed in the proscenium arch of the stage. It is not purpose built as the play’s set but a remnant of the old Baptist Tabernacle Church that now hosts the Eternity Playhouse, an apt space to perform CONSTELLATIONS, Nick Payne’s play about multiple possible universes.
Director Anthony Skuse, captivated by the building’s interior structure, “notions of time, mortality and faith are inscribed in the building’s markings and scars”, with his production designer Gez Xavier Mansfield, has brilliantly placed the action of the piece in a sort of palimpsest, utilising extant structure- the dome curvature of the back wall suggests a celestial observatory – and inscriptions while introducing an oblique plinth and a couple of chairs placed askew to cue the off kilter, non-linear form of the play. Continue reading Constellations→
Infertility leads to infidelity in the infinitely engaging EVERY SECOND, the new play by Vanessa Bates now playing at the Eternity Playhouse, Darlinghurst.
This spry, wry, and fly production is all about breeding, and the lengths modern couples go to achieve conception. Whether it’s blokes shooting blanks or sheilas shackled with wombs wherein seed can find no purchase, the need to breed takes up every second that ticktock the biological clock.
Four friends, bound by barrenness, Bill and Jen, Tim and Meg, share the frustrations of non fecundity, and the plethora of reproductive panacea, from praying to fertility gods to the latest scientific espousals.
Almost ten years since its debut production, Christopher Johnson’s THE YOUNG TYCOONS stands the test of time with a remount at its spiritual home, Darlinghurst Theatre Company, albeit in their new venue, The Eternity Playhouse.
Under the same assured hand of the original director, Michael Pigott, THE YOUNG TYCOONS has even more resonance as the sands of the hourglass have piled myriad pyramids of power and profit for the fledgling facsimile pharaohs fictionalised here.
Two households, both alike in media power, in fair Australia, where the scene is set some time soon after the toppling of twin towers and the trashing and crashing of a towering Telco fiasco. Each house is planning succession, second generation barons conferring their heirs, their sons, to take over the family business.
Let me set the scene to Irish playwright Tommy Murphy’s 1984 play THE GIGLI CONCERT, a play which the Irish Times described as, ‘one of the greatest Irish plays of the century’.
Set in Dublin in the early eighties, the play has two main characters and one minor one. First we have a man simply called the Irish Man. He is going through a huge midlife crisis. Perhaps a breakdown would be a better word for it.
He has had a brilliant career, working as a building construction contractor, and has made himself a very wealthy man. He has the wife and kids. And yet he is deeply unsatisfied. All his life he has ignored his artistic side, and now he desperately wants to explore it. Nothing else means anything to him.
A strong though flawed revival of the wonderful Tony award winning musical FALSETTOS-music and lyrics by William Finn and book by James Lapine and Finn- is currently playing the Darlinghurst Theatre Company’s pristine new home, the Eternity Playhouse.
With so many different variations in play within the modern family the scenario in place in FALSETTOS is as edgy and relevant as ever. Marvin and Trina’s goal is to hold family life together and, in particular, the well being of their clever, adorable teenage son, Jason. Not such an easy task when they both move on to new partners,- Marvin falls in love with a guy called Whizzer, and later, Trina falls into the arms of the family psychiatrist, Mendel.
There is much to love about this play,-the plot is involving throughout, the score is a treat with the thirty something songs all commentating superbly on the action, and most of all the unpretentious, erudite humour and resilience with which these characters, in Falsetto land, face the challenges that life throws their way not in ‘single file but in battalions’.
Colyer direction impressed and the simple, adept staging worked well. There was one reservation. The production would have been well served with a dialect coach. The way some of the Jewish expressions and Hebrew passages were delivered more embarrassing. A disappointment.
The actors were a powerhouse. Favourite performances were delivered by Ben Hall as Whizzer, Katrina Retallick as Trina, Stephen Anderson as the frizzy (a great wig), eccentric psychiatrist, and Anthony Garcia, who showed plenty of promise in his assured performance as a teenager enmeshed in complex adult dramas.
Stephen Colyer’s production is playing the Eternity Playhouse, 39 Burton Street, Darlinghurst until Sunday 16th March.
One of the perks of being the first play of the season is that you get to rehearse in the space.
No wonder director Stephen Colyer was pleased as punch when I spoke to him a week into rehearsals of FALSETTOS, at the Eternity Playhouse, Darlinghurst’s newest theatrical tabernacle.
Colyer was at the helm of Darlinghurst Theatre Company’s production of Torch Song Trilogy last Mardi Gras, and is clearly delighted to have the opportunity of revisiting another in the cannon of landmark queer theatre for this year’s festival.
The Darlinghurst Theatre Company has made an impressive start in its new venue, the Eternity Playhouse, with Iain Sinclair’s strong production of Arthur Miller’s classic play ALL MY SONS (1947).
This was an intense night in the theatre, more than apt for this venue which used to be a devout Baptist church where no doubt more than a few fire and brimstone speeches were delivered.
All the main characters in this sweeping Miller drama are in a fighting, uncompromising mood. Gutsy performances were required from the cast and delivered. all the leading players have their big scene to show off their wares.
As the parents, desperate to keep their family together, Marshall Napier as Joe and Toni Scanlan as Kate give memorable performances. Joe has spent time in prison, and will do anything to not go back. Their son Larry went missing three years ago in action in plane during the War, and Kate still believes that he is about to come in through the front door.
Andrew Henry as their other son Chris and Meredith Penman as Larry’s wife Anne want to make a life together, against Kate’s wishes. And against Anne’s brother, George, played by Anthony Gooley, who returns to his old home town to take Anne back.
Iain Sinclair plays the part of family neighbour, Doc Jim Bayliss, as well as helming the production. Mary Rachel Brown plays his insecure wife, Sue. Robin Goldsworthy and Briallen Clarke play the other neighbour couple, Frank and Lydia Lubey and Angus Moore plays Bert.
As Arthur Miller asserted in one of his other great plays, DEATH OF A SALESMAN, attention has to be paid to these characters as they fight like hell to get what their needs met.
Sinclair’s staging is excellent and he recreates the late 1940’s time period well, in both the set and costumes. As per Miller’s original design, the audience enters the theatre greeted with a fallen tree, the result of an over-night storm, and bearing ill-portents of what is to come. Nate Edmondson’s subtle music score works well as does Nicholas Rayment’s lighting design.
Recommended, Iain Sinclair’s revival of ALL MY SONS plays the Eternity Playhouse, 39 Burton Street, Darlinghurst until Sunday December 1, 2013.
Announced earlier this year, Darlinghurst Theatre Company will open Eternity Playhouse with Arthur Miller’s ALL MY SONS, which will preview from November 1, and open on November 5.
We used to celebrate Guy Fawkes on that date and hopefully the date will auger well with a cracker show full of theatrical fireworks.
The choice of an American play to open a new venue by Darlinghurst Theatre Company follows the precedence set at their inaugural space in Greenknowe Avenue, where they premiered The Woolgatherer, a fairly ordinary play and a fairly ordinary production.
Fortunately the space played host to a number of home grown pieces, most notably Christopher Johnson’s works, one of which, The Young Tycoons, is being resurrected.
The 2014 season kicks off with the Tony Award-winning musical Falsettos, perfectly timed to open around Mardi Gras. Wickedly funny lyrics accompany a live piano score in this quirky yet tender tale about family, growing up and what it means to be a man.
The impressive line-up continues with the fiercely satirical The Gigli Concert, the wickedly subversive comedy The Young Tycoons, the new Australian play Every Second by Vanessa Bates, Nick Payne’s West End hit Constellations, the return of the sell-out 2013 hit The Motherf**ker with the Hat and rounding off the season is the deliciously fast-paced comedy about love, loneliness, food and friendship, Nick Enright’s Daylight Saving.
The Eternity Playhouse is set to become a prominent and iconic theatre destination in Sydney. With its stunning architecture, brand new state-of the-art facilities and iconic place in Sydney’s history, the repurposed Burton Street Tabernacle will be a very special place to see live theatre.
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