Reviews

Billy Elliot The Musical returns to Sydney in a creatively designed production that captures the hope and ambition of a twelve-year old boy caught up in a political situation that almost brought Britain to civil war.

When Margaret Thatcher won power in 1983, she was determined to privatise the coal mining industry and bring down the powerful National Union of Mine Workers. The result of her policies led to a year-long strike and horrific clashes between miners and police – and a despair that spread across the nation.

There is far too much to say about this production without getting bogged down in plot synopsis. Any theatre nerd worth their popcorn already has a reasonable, if not firm grasp of the plot, even if the actual historical setting of the story is often misconstrued - but I'll let you ponder all that with the aid of Google. This review focuses on the show's mystique. 

Belgian theatre company Ontroerend Goed have returned to Adelaide with £¥€$, an interactive and immersive theatre experience for the 2019 OzAsia Festival.  Since its premiere in 2017 £¥€$ has been travelling the globe and immersing audiences in Moscow, Kazakhstan, Hong Kong and Shanghai plus staging a French-speaking version as an official selection for this year’s prestigious Festival d’Avignon.

Japan’s SIRO-A brings Techno Circus to Adelaide for this year’s OzAsia Festival. It’s an hour of human agility and ability interacting with state-of-the-art technology, all choreographed to a thumping techno soundtrack. Techno Circus in many ways defies classification despite the show’s title. It has elements of dance, acrobatics, physical theatre, puppetry, clowning, mime, shadow play, sleight of hand and magic, all combined with mind-boggling visual effects.