Reviews

Lindy Chamberlain did not murder her baby Azaria at the then Ayres Rock, but through the 80s and 90s many Australians took a vicious pleasure in the myth that she did. It was so strong and divisive an idea that thousands felt compelled to write to Mrs Chamberlain, with everything from death threats and accusations to support, and later, remorse.

There is something incredibly exhilarating in seeing any artist at the peak of their brilliance, and when there are ten of them, imbued with the fire and passion that is the Argentinian Tango, it would be difficult not to feel the adrenaline rush even sitting in the stalls. The passion is palpable; the excitement all embracing.

Deft direction by Jordan Best, a brilliant sound design and excellent characterisation by the leads make Canberra REP’s Macbeth great to watch. Jenna Roberts’s Lady Macbeth is every bit as lustful, bloodthirsty and ruthless as you’d expect. Ms Roberts gives her character’s psychopathy a hypnotic quality. With distinctly different public and private personas, there’s nothing vulnerable about Lady Macbeth but at times she shows brief flashes of uncertainty and even surprise and a childlike delight at her own gall.

Mousetrap Theatre’s audience had a right royal time at Once Upon a Mattress. They laughed at Carmen Heath’s waspish Queen Aggravain, giggled at David Scheiwe’s mute and lascivious King Sextimus, and cheered for Fay Richards as the moat-swimming Princess Winifred, better known at Fred. They didn’t seem to mind that most of the cast couldn’t sing, that the piano accompaniment stumbled along, or that the Princess lost her place in “Happily Ever After” and forgot the lyrics.