Reviews

This iconic work by Edward Albee is a play of its time. When it opened in 1962, it was acclaimed as the play that would lead a revolution in American playwriting. But because it dared to portray a picture of American life that was less than ‘wholesome’, it was also criticised by those who found it “obscene, morbid and decadent”. Yet the play took its place as the harbinger of a new wave of theatre that did what theatre is meant to do … reflect society and question prevailing values and behaviour.

Set in three time frames – early 19th century Australia, the suburban present and some kind of dog-eat-dog, dystopian future – Zoe Dawson tracks a young woman who somehow survives ‘impossible odds’ and creates… nothing.  It begins promisingly enough with some clever staging from director Declan Greene, ingenious set design from Romanie Harper hand-in-glove with Amelia Lever-Davidson’s lighting.  Caroline Lee and Ruby Hughes are Mother and Daughter, felons passing themselves off as airs-and-graces free settlers in this land of opportu

It may seem hardhearted to say that the Centenary of ANZAC has proved to be a rich field of material for theatrical performances, but that has been the case, with many productions commemorating the 1914-1918 conflict, during which thousands of Australian armed service personnel died. Of the many wonderful productions, one of the most powerful to date is a short play called Dig for the Diggers written by Lynn Brittney and performed by Square Pegs.

Laura comes by bus from Helsinki to spend Christmas with her long widowed Mummi (grandmother) in Mummi’s small town.  The weather is, of course, cold, hovering just above and just below zero.  It’s better when there’s no wind.  Laura (Sophia Riozzi), a stiff, pale young woman, appears tense, preoccupied, even faintly hostile.  We might wonder why she’s come.  It is mere duty?  Tiny, bird-like Mummi (Shirley Cattunar) seems to be the only family she has.