Reviews

A Raisin in the Sun

By Lorraine Hansberry. Sydney Theatre Company. Director: Wesley Enoch. Wharf 1 Theatre. August 27 – October 15, 2022

New York critics in 1959 acclaimed Lorraine Hansberry’s classic as the Best Play of the Year.  Only 29, she was the youngest playwright and at that time the first Afro-American to win the award.

Girl From The North Country

Written and directed by Conor McPherson. Music and Lyrics by Bob Dylan. QPAC, Brisbane. From September 8, 2022.

Trying to categorise this show for the clarity of a review is a little like herding cats. It simply won’t go where you want it.

Musical theatre fans should note that it is NOT a musical (nor does it claim to be). The songs are quite separate, sung into old-fashioned stand microphones, and don’t advance the narrative in any way (though sometimes they try to reflect it).

The Importance of Being Earnest

By Oscar Wilde. Roxy Lane Theatre, Maylands, WA. Directed by Tim Riessen. Sep 2-18, 2022

The Importance of Being Earnest is a gorgeously written comedy, and despite being written 128 years ago, is still one of the wittiest plays being performed. Under the direction of Tim Riessen, who is having a very busy year, Roxy Lane takes us back to the late Victorian era and provides lots of laughs with this “trivial comedy for serious people”.

Cruel Intentions The ‘90s Musical

By Roger Kumble, Jordan Ross and Lindsey Rosen. David Venn Enterprises. Her Majesty’s Theatre, Adelaide. Sept 9 – 24, 2022

It is ‘risky business’ to try and transfer an iconic film to the musical stage - so many things can go wrong. Fortunately, they didn’t. Cruel Intentions The ‘90s Musical is a clever reinvention, or, as producer David Venn says, “a love letter to the film”. It brings us all the sex, manipulation and intrigue that made the film a must see.

Sweet Road

By Debra Oswald. Adelaide Repertory Theatre. Arts Theatre, Adelaide. 8-17 September 2022

Road trips through the Australian Outback aren’t the likeliest of settings for a play, yet with Sweet Road, The Rep has created an interesting production that carries you way outside the city.

It’s the intersection of at least five stories of human interaction (or dealing with the lack of it), each character experiencing their own grief, growth and opportunity, each of them on a journey both literal and metaphorical.

Tilt 2022 (Program One)

WAAPA 3rd Year Performance Making. The Blue Room Theatre, Perth Cultural Centre, WA. Sep 7-10, 2022

Tilt is a series of short plays presented by the Graduating Class of the Western Australian Academy of Performing Arts’ Bachelor of Performing Arts. Featuring twelve short performance pieces, played over two programs, audiences see six pieces on one night. The first week features six highly varied, well produced plays.

The Lighthouse

An Opera by Peter Maxwell Davies. BK Opera. Directed by Kate Millett. Brunswick Mechanics Institute, 270 Sydney Road, Brunswick. 8 – 10 September, 2022.

This is a chilling story that has very ethereal elements and casts man against nature in a very dramatic way. This original opera is based on true events about three lighthouse keepers who disappeared under mysterious circumstances from a remote Scottish location. The dark tone of the story is well suited to the genre and a great way to portray the larger-than-life characters who inhabit this eerie episode. 

Senser

By Brittanie Shipway. Director & Dramaturg Miranda Middleton and Dramaturg Briony Dunn. Theatre Works. 7 – 17 September 2022

The lights go down and then, suddenly, there’s a glamorous 1930s drag queen Cabaret Performer (Adam Noviello) in the spotlight - tight blonde curls and a clinging, shimmering green dress.  She dances, she sings a naughty, bouncy Weimar- style cabaret song.  Who is she?  Where has she come from?

Who’s Afraid of Virginia Woolf?

By Edward Albee. Free-Rain Theatre Company. Directed by Cate Clelland. The Hub, Canberra. 2–17 September 2022

George and Martha have been in an embittered marriage for more than twenty years.  Not content to tear strips off one another — Martha with outright aggression and George with infuriating passive aggression — they like to involve unsuspecting others in their dysfunctional relationship, in a little game called ‘Get the Guests’.


Traps

By Caryl Churchill. Directed by Laurence Strangio. La Mama HQ, 205 Faraday Street, Carlton. 7 – 18 September, 2022

Traps has been described as a play with a “messy ontology” and this makes it a challenging text to interpret or perform. Caryl Churchill plays with theatre and narrative conventions in a much more complex way than even directors such as Goddard or Lynch did with cinema. The story is not told in flashbacks or episodes but in a strange, looped continuum (also known as a mobius strip), which is eerily asserted on the stage.

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