Reviews

“Life, is suffering.” So say Buddha and philosopher Arthur Schopenhauer, for starters. This universal truth works well as a three-word synopsis for Samuel Beckett’s Endgame. 

Neil Simon’s original odd couple - mismatched flat-mates Felix and Oscar, along with their poker playing pals - are very familiar, thanks to the hit play, and the subsequent film and TV series (just revived locally this year). Their female counterparts Olive and Florence, and their Trivial Pursuit circle, not so much, yet Simon’s gender-flipped adaptation of his own play is very different, and possibly more poignant.

Christopher Wheldon’s full-length narrative ballet about the life and work, loves and gay martyrdom of Oscar Wilde leaps beyond the usual heteronormative stories of the Australian Ballet. 

Artistic director David Hallberg looked especially proud at Sydney’s opening night, even as he was gently hosing down any conservative reaction in the audience.  A few rows left but almost all were on their feet by the end.

Based on the Touchstone Motion Picture Sister Act (Emile Ardolino, 1992), this musical stage production capitalises on all appealing elements of the original film.  Casey Donovan captures Deloris Van Cartier perfectly. She preserves both the crass and heartwarming aspects of the character with exactly the right measure of impishness. The audience is always on her side regardless of her brashness or her dubious lifestyle. Donovan also woos the audience by emphatically creating her own singing style for the part.