Reviews

The Curious Incident of the Dog in the Night-Time

By Simon Stephens, based on the novel by Mark Haddon. National Theatre (UK). Arts Centre Melbourne, Playhouse. 11 January – 25 February 2018

The Curious Incident tells its curious story from the point of view of Christopher Boone (Joshua Jenkins), an autistic teenager, a maths genius, living in Swindon in England with his Dad, Ed (David Michaels), who’s told him that his mother, Judy, is dead.  One night, Christopher discovers their neighbour’s dog dead on her front lawn, impaled on a garden fork.  (The chalk line around the corpse – the classic murder scene – remains as a reminder to the end of the play.)  His determination to find the dog’s killer kick starts the plot.

American Idiot

Music by Green Day. Lyric by Billie Joe Armstrong. Book by Billie Joe Armstrong and Michael Mayer. Directed by Craig Ilott. shake’n’stir / QPAC production. Sydney Opera House 11 – 14 Jan 2018 then other Capital Cities

American Idiot is a wild high-energy ride, full of passion, power, and heart. This is the show Rent wants to be when it grows up.

When The Rain Stops Falling

By Andrew Bovell. Music by Tom Baynton, Javeenbah Theatre, Nerang, Gold Coast. Director: Kaela Gray. Jan 12 – 27, 2018

Javeenbah Theatre Company’s production of Andrew Bovell’s award winning play When The Rain Stops Falling receives the devilish treatment from director Kaela Gray that play needs.

The fantastic cast includes Clay Carlaw as Gabriel Law, Adrian Carr as Gabriel York, Tracy Carroll as Elizabeth Law (older), Gillian Crow as Gabrielle York (older), Tallen Hall as Andrew Price, Kelly Holden as Gabrielle York (younger), Trevor Love as Henry Law, Thian Sykes as Joe Ryan and Naomi Thompson as Elizabeth Law (younger).

Once Upon A Mattress

Music by Mary Rodgers, lyrics by Marshall Barer, and book by Jay Thompson, Dean Fuller, and Marshall Barer. Primadonna Productions. Directed by Carole Dhu. Mandurah Performing Arts Centre, WA. Jan 11-14, 2018

Once Upon A Mattress kicks off Western Australia’s Community Theatre year with a joyful, celebratory, production with great colour, good laughs and a lovely energy, from Primadonna Productions.

A cast of twenty-five (it feels like more), work well as an ensemble to tell the ‘true’ story of The Princess and the Pea. They are supported by a four-piece band. The group numbers sound great under the musical direction of Bruce Angus.

Roald Dahl’s The Twits

Directed by Michael Barlow. Spare Parts Puppet Theatre, Fremantle, WA. Jan 8-27, 2018

Spare Parts Puppet Theatre’s World Premiere of Roald Dahl’s The Twits is exactly what you would hope for in an adaptation of Roald Dahl’s work; a fun filled, silly but clever romp, with lots of laughs.

Co-created by Michael Barlow and Humphrey Barlow, it takes the essence of the novel and creates a fun puppet led production. Suitable for children from about 5 upwards, it is a wonderful introduction to the novel and will be enjoyed by Roald Dahl fans of any age.

The Taming of the Shrew

By William Shakespeare. Butterfly Theatre – Shakespeare at the Pub. The Wheatsheaf Hotel (SA). January 9 – 17, 2018

Shakespeare’s The Taming of the Shrew is today regarded by some as a ‘problem play’. This is primarily due to the influence of contemporary ‘feminism’ concerning the overt misogyny in the play. The play has been re-interpreted in numerous ways, and even though it may not be performed as often as in previous times, nonetheless, it still has the ability to enthrall and entertain. This is very apparent with Butterfly Theatre’s current delightful production.

Alice in Wonderland

Adapted & directed by Penny Farrow, based on Alice’s Adventures in Wonderland by Lewis Carroll. Rapidfire International, Inc. in association with Boyd Productions. Athenaeum Theatre, Collins Street, Melbourne. 9 – 10 January 2018

Alice on stage?  But, no, its not a musical.  Executive Producer Ethan Walker believes, ‘the original book is so delicious and remarkable that… the words would be lost if we were to make this production a musical’. So, here is an exuberant, pacey compression (just one hour) of Carroll’s work with additional material chosen by adapter/director Penny Farrow from Alice Through the Looking-Glass, The Hunting of the Snark and a volume of Carroll’s poetry, Rhyme? And Reason?

Darlinghurst Nights

Book by Katherine Thomson. Music by Max Lambert. Based on the book Darlinghurst Nights by Kenneth Slessor and an original concept by Andrew James. Directed by Lee Lewis. Musical Director Max Lambert. Hayes Theatre Co. Jan 4 to Feb 3, 2018.

This musical gem beautifully evokes the ghosts of those who once walked the streets of Darlinghurst and Kings Cross just outside the Hayes Theatre itself.  Drawing on Kenneth Slessor’s collection of poems from the 1920-30’s, it’s also another welcome time travel –  reviving as it does an Australian musical successfully premiered 30 years ago.

We’re reminded again about the power onstage of our own Australian voices, the locals which came before us and familiar places which made us both.

The Town Hall Affair

Based on the film Town Bloody Hall by Chris Hegedus & D.A. Pennebaker. Wooster Group / Sydney Festival. Drama Theatre, Sydney Opera House. January 7 – 13, 2018.

New York’s Wooster Group were the experimental darlings of the 1986 Adelaide Festival, along with the long monologues of their co-founder, the late Spalding Gray.

Now Wooster debuts in Sydney, still sitting at the same long table with mics, deconstructing classic texts and major cultural events. 

Their subject is the landmark 1971 Manhattan debate on women’s liberation, which was documented in the film, Town Bloody Hall. Extracts are screened as the Wooster actors play out the same sequences at the table and lectern. 

Masterclass

By Terrence McNally. Andrew Kay in Association with The Kings Head Theatre, London. Director: Adam Spreadbury-Maher. Southbank Theatre, Melbourne. January 5 – 27, 2018.

Masterclass depicts scenes from a masterclass given by the great opera diva, Maria Callas, at the Juilliard School of Music in 1971. Apart from Callas we meet only three students and an accompanist.

This is a tour de force for the leading lady, as Callas is on the stage for the entire play, and Amanda Muggleton was superb. Only metres from the audience, she never dropped character and alternatively showed the strength and vulnerability of this operatic icon. She was riveting.

Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.