Reviews

Take a racist, paranoid, melodramatic novel of the late 19th century about a Chinese invasion of Australia, masterminded by evil Russians, but resisted by some dinkum blokes.  Add an agile writer, three highly talented cast and a bold, inventive director.  Mine the novel for every cliché, stereotype, stock character and situation. Note the disturbing parallels with contemporary racism and paranoia. Improvise, rehearse and, I assume, fall about laughing. 

This performance pays homage to a range of important female figures that have made a contribution to feminism and represent the power of femininity in one form or another. It is a great reminder that ordinary names such as Julie, Joan, Juliet, Helena, Beatrice and Diana can evoke a rich and powerful history of women who have demonstrated extraordinary courage and strength.

Heat, sweat, languor and frustrated – or arrested – sexuality in a 1930s ‘south’ of the USA.  That’s the immediate and powerful impression on entering the theatre.  We know the show is by Tennessee Williams, so we’re primed.  The wide playing space – with iconic period furniture in pools of light and naked hanging bulbs - occupies fully half of the Trades Hall ballroom.  The cast, in costume and in various poses, are already on stage.  A neatly dressed young fellow stands rigid to one side.  A woman in a clinging neglig

This opera on the life and murder of America’s first elected openly gay official was staged twenty years ago in Houston and New York and, after revisions, in Harvey Milk’s hometown of San Francisco.  It’s hasn’t been seen since.

Now this staged concert version with a cast backed by the Sydney Gay and Lesbian Choir, a one-off at Sydney Town Hall, follows a season at Melbourne’s Midsumma Festival.