Reviews

Anti-Hamlet is a clever slick journey opening with Mark Wilson as Hamlet engaging the audience with fabulous sparkling heightened energy.  This energy is embraced by all actors and doesn’t let up as we are taken on a fast a wild ride and lengthy ride through a sort of Australian ‘boy’s own’ contemporary Australian Hamlet, which, mainly through their absence, highlights aspects of Shakespeare’s original. 

Sometimes it’s good to sit and watch a well-constructed comedy into which the actors can add generous slices of ham. Such is Ken Ludwig’s Leading Ladies, which in the experienced hands of Adelaide’s Therry Dramatic Society and the play’s Director Jude Hines is a hoot from go to whoa.

Donizetti’s fascination with Tudor England and the women who feature in this tumultuous history is indulged in Anna Bolena. The opera recounts the period which sees the demise of Boleyn as Queen of England and King Henry VIII’s second wife. This period of history, and in particular Henry's court, is rich with intrigue, betrayal and espionage and in many ways sets the scene for the future reign of their daughter Elizabeth I.

A thought provoking, sensory experience.

When I agreed to review The Q’s Frankenstein, I was intrigued by the show’s description of a cross-disciplinary performance, using a live musical score, text from Mary Shelley’s original novel and parts of the classic film to retell a tale of doom and destruction.

Not having had a lot of exposure to contemporary theatre (I am more of a musical kind of gal), I didn’t know what to expect and wondered if I would find it weird or if I would even understand it.