Reviews

Joshua Harmon’s plays are ‘confronting’, or ‘provocative’ as we saw with his previous Bad Jews.  Director Gary Abrahams reminds us of that in his excellent program notes.  Admissions may make you squirm, get antsy, or, at best, feel uncomfortable – even while laughing.  It’s a play about the racism that white folks don’t even know they have – and the ‘white privilege’ that, really, they’d rather not give up.  It’s an American play, but its general line of attack – and at

Part of the enchantment of Adelaide’s Fringe is the diversity of performers coupled with venues that allow going out to be a multi-faceted event. This is one such show. The Auditorium at Diverse-City is a Local Heritage listed building and has been used for decades as a venue providing licensed bar and food facilities, so for this event, patrons chose from a 'Show Only' or 'Meal and Show' ticket.

‘Mad Woman’?  Should it be ‘Sad Woman’? 

A Jew and Christian in love seems a rather trivial affair on which to build three hours of gloriously dark, grandiloquent opera. Fromental Halévy’s 1835 work, set centuries earlier in Constance, stirs up thunderous choral and soaring solos from the lovers and their two feuding religious communities. 

This OA/Opera National de Lyon co-production matches most modern versions by updating these old bigotries into the racial horrors of the 20th Century – when the Nazis shot such lovers.