From Wollongong to Wyong, from Port Macquarie to Penrith and Parramatta, Jonathon Biggins has been touring his wildly acclaimed play throughout New South Wales.
Wherever Biggins takes this show he performs nearly always to deserved full houses. Paul Keating is unique in that he has had two shows written about him that are highly entertaining ie that is Keating The Musical and now The Gospel According To Paul.
I must declare my bias in that I am a huge fan of Paul Keating. I used to watch question time in Parliament to witness Keating’s wit and viciousness. In this regard I am similar to President Suharto who although he was a dictator would obtain tapes of Paul Keating performing during Question Time and as a result relations with Indonesia became warmer. Continue reading THE GOSPEL ACCORDING TO PAUL @ THE PLAYHOUSE→
Featured image – Ash Flanders and Megan Wilding in Lui’s new play. Production photography by Daniel Boud.
This is the new work by indigenous playwright Nakkiah Lui. It is a very different style of play to Black is the New White which was written in a naturalistic style. BLACKIE BLACKIE BROWN : THE TRADITIONAL OWNER OF DEATH is a sort of comic book come to life, a superhero revenge story which mixes live action theatre with stunning visuals and animation. The common feature to both plays is that Lui tackles serious subjects with a comic, satirical touch.
The storyline follows Dr Jacqueline Black who is an Aboriginal archaeologist working on a dig somewhere in the Australian bush. Uncovering a mass grave, she picks up a skull and is suddenly seized by a transcendent power.
Dr Black’s great-great-grandmother speaks to her from beyond the veil. She speaks of the white men who brutally massacred her family. She speaks of that sin being passed down through the generations. Dr Black tasks Jacqueline with exacting revenge – she must kill all 400 descendants of the men who murdered her ancestors. A cold-blooded vigilante is born: Blackie Blackie Brown, the traditional owner of death.Continue reading BLACKIE BLACKIE BROWN : THE TRADITIONAL OWNER OF DEATH→
Featured photo – Simon Lyndon and Georgina Symes. Pic Patrick Boland.
From time to time, a play comes along that fits perfectly well in the psyche – enabling us to relax, enjoy, compare, empathise, sympathise, laugh and brood.
SUNSET STRIP, Suzie Miller’s latest play, empowers its audience. We know that we are not alone and mutual hope is the elixir of well-being.
It is a play about challenge, hope and families struggling with their imperfections whilst maintaining a deep sense of belonging and an unbreakable bond
Miller says of her play, “I wanted it to reflect how we bumble through life with all sorts of challenges, some of which will never be fixed or cured, but which we take on board and battle along with. There are also many funny and darkly ironic moments that come about even when we live with ‘everything going wrong’. I wanted to celebrate this because it is something we have all known and have experienced.”Continue reading SUZIE MILLER’S ‘SUNSET STRIP’ @ THE STABLES→
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.
As part of this year’s 100th anniversary of the Australian and New Zealand troops landing on the Gallipoli Peninsula in an offensive against the Turkish Army during World War 1, the Ensemble Theatre has developed and is now presenting its production, THE ANZAC PROJECT- HELPING US REMEMBER.
As we all know only too painfully, the campaign was a disastrous one. The troops were largely cannon fodder but the camaraderie, sardonic humour and bravery of the Australian and New Zealand forces launched a legend, henceforth known as the ANZACS that continues to be recognised every 25th April since 1916.
The two new works, commissioned by the Ensemble Theatre for their 2015 season, and written by experienced playwrights Geoffrey Atherton and Vanessa Bates, have many overlaps and similarities in style and content. With them being presented by the same quartet of actors playing quite similar characters, and both directed by Mark Kilmurry, using the same set, there tends to be a blurring of stories and images into one whole. Continue reading The Anzac Project- Helping Us Remember @ The Ensemble Theatre→
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