Reviews

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.

The University Of Adelaide Theatre Guild’s latest production brings a visceral intensity to a very familiar and oft-revived play, that has become such a frequent staple of high school English classes it’s likely to have lost some of its edge to many seasoned theatregoers.

When Avenue Q won Broadway’s Tony Awards triple crown in 2003, some people were surprised. This deceptively simple musical (more a series of vignettes) which features “full frontal puppet nudity and other vulgarities” wasn’t the usual stuff that hit musicals were made of, but Robert Lopez and Jeff Mars channelled their inner kids to give us an Adults Only Sesame Street, and turned expectations upside down. Thirteen years later this new production proves that a good show is a good show, regardless of style or fashion.