Reviews

Andrew Bovell’s 2008 play weaves together past, present and future, embodying his twin themes of the familial sins of the fathers and the ecological sins of all of us upon this our Earth.  If the latter sounds portentous, it is a subtle, allusive presence in the family saga.  Each is almost an allegory for the other.  The story, beginning in 2039, and travelling backward to 1959 and points in between, across three generations, echoing the Old Testament, in which the Lord our God is a jealous God, visiting the iniquity of the fathers upon the sons to the third and fourth

The DVS production of The Addams Family is a tribute to the dedication of community musical theatre companies, with the show opening some more than a year after beginning rehearsals.

The production also lost a principal cast member, the talented tour de force Antony Steadman, who passed away earlier this year. Antony had been cast to play Uncle Fester. Fittingly, the performance run is dedicated to Antony's memory.

Anna Karenina is a shining jewel in David Hallberg’s first season as Artistic Director of The Australian Ballet, presented in partnership with the Chicago-based Joffrey Ballet. This reviewer/former dancer is very excited about the future for our national ballet company with such a distinguished visionary at the helm. 

How to describe or characterise this stunning work?  Performance art?  Installation with human figures?  It holds the audience in rapt attention.  Two ‘performers’ – Tamara Saulwick and Alisdair Macindoe – in black, zippered jumpsuits, sit at either side of the deep playing space – the floor of which is a kind of huge circuit board.  Each ‘plays’ – or manipulates – a white light console and their uncoordinated movements, touches and strokes, create both sounds and geometric shapes on the huge cyclorama behind the