Reviews

This musical reflects, in many ways, what goes on behind the scenes in productions, particularly when the curtain is about to fall unless changes are made to the cast. Never would it get to the stage of disruption as shown here but conflicts and various ambitions sometimes come into conflict. The worst possible aspects are the feature of this musical as the curtain is soon to fall. This production had the added challenge of being a youth production with cast members developing their talent by actually performing in front of an audience.

How utterly delightful to revisit this musical in 2022, not quite a year after the death of Stephen Sondheim.  To make it even better, the Gilbert & Sullivan Society of SA has assembled a talented cast and crew to do justice to this landmark musical, entertaining us since its San Diego premiere in 1986.

Let me start by saying that this play is quite an undertaking.  Twenty-five different scenes that convey a combination of Gerry's childhood memories, the sometimes chaotic family dynamic and the various Durrell family interactions with the locals.  It certainly is a rich tapestry and the Genesian Theatre Company has tackled it head on.

It is a well-known aphorism that children and tattoos are both permanent.  Both get under your skin, as does this wonderful play by Alison Mann. Tasmanian playwright Mann, already much awarded, was recently shortlisted for the prestigious Queensland Premier’s drama award. For good reason.

Amy is 42-year-old free-spirited tattoo artist who altruistically donated her eggs as a 20-year-old.  The action unfolds when she meets her son, a young adult who wants a tattoo.  The marks on the skin of both go much deeper and an immediate connection is formed.