Reviews

Piccadilly Cinemas is one of the great Art Deco buildings in Adelaide, with a big foyer, a winding staircase and a spacious Ladies powder room. This makes it the perfect setting for this site specific Opera. Set in a public bathroom, it explores the interactions and relationships of women in a traditionally safe space.

The Fairfax Studio opens out to embrace the audience and bring them into the intimate workings of four complex individuals.  It is a great venue for this fascinating, intriguing and enigmatic work. 

The domestic setting by designer Elizabeth Gadsby, of an all-purpose living room for guests, is busy with clashing yet strangely simpatico décor.  Like a fifth idiosyncratic character, the set is acutely integral to the unfolding of the story.  At times it is also used to add dashes of magic realism.

When writing a good script, there is one rule…revise, revise, revise. That’s where I have a problem with this Adelaide Fringe show. Although I sat through 20 scenes in 2 hours I still had no clue what the writer was trying to accomplish with her wordy and rather self-indulgent dialogue.

Kate Burbeck wrote and produced this play and delivered 90 percent of the show’s lines as protagonist Kate. Whilst she attempted to be philosophical, as an audience member I was left bewildered by the lack of structure and ambiguous storyline.

David Hare is such a master playwright in his sublime ability to blend ideas and philosophical debate into the flesh and blood of real characters.  The Judas Kiss is a deeply moving and thoughtful rendition of the night Oscar Wilde refuses to run from his imprisonment and, in the second act, some years later in Naples, how he negotiates his ruin.