Reviews

I remember when I was a child my mother or father used to read to me every night. It was one of the highlights of my childhood. Enoch Arden is a welcome return to those days. It is story-telling for adults, heart-rending and sophisticated.

It’s taken a while but this is Louis Nowra’s final play in his loosely autobiographical trilogy, after Summer of the Aliens about a boyhood in a Melbourne housing commission flat and Cosi about directing Mozart in a mental asylum.

Here in the downstairs theatre of Sydney’s Old Fitz, we meet supposedly the same locals with whom Nowra has been drinking upstairs for the last decade.  In fact, Nowra spent the premiere of This Much Is True not with us but in the front bar in his usual place of inspiration.   

Ruddigore or the Witch’s Curse (1887) was Gilbert and Sullivan’s tenth collaboration and coming after the gigantic success of The Mikado it fared badly with the critics and was relegated to the rarely performed in their repertoire.

Australia hasn’t seen it for twenty years, so this new Opera Q production by Lindy Hume is a welcome revival. The piece trades in Victorian-era cloak-and-dagger melodrama with a delightful burlesque edge which Hume captured in some inventive Monty Python-esque sets by Richard Roberts.

First time playwright Disapol Savetsila brings his own immigrant experience to this tale of newly arrived Thais searching for a place an Aussie country town.  Cooking is their offering, their passport to new home and community, but sadly no one comes to the new restaurant.

Almost entombed in David Fleischer’s airless, grey concrete backroom, is a young married couple (Monica Sayers and Kenneth Moraleda) struggling with sickness and displacement, young Ben and his mother (an exasperated Gabrielle Chan as the bossy maître de with no customers).