Adelaide Festival: Late Night in the Cathedral: Passio

Adelaide Chamber Singers. Photo by Denis Smith, Adelaide Festival of Arts

Arvo Pärt is one of the most enduring revolutionary composers of choral and instrumental music of the 20th century. Carl Crossin has been a major influence in the presentation and acceptance of Pärt’s choral music in particular in Adelaide. His Adelaide Chamber Singers is one of the most accomplished choirs…

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Queen Bette, G.bod theatre


“The Queen has no hour for love…” With a crash of glass Bette takes the stage. She is a volatile force, a strong rush of wind. Queen Bette is part biographical. Blurring the line between imagined and real, it retells the life of Bette Davis, arguably Hollywood’s most prolific actress…

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Adelaide Festival: Nufonia Must Fall

Nufonia Must Fall. Photo by AJ Korkidakis, Adelaide Festival of Arts

Nufonia Must Fall is a clever, engaging fusion of film making, puppetry, live music and DJ mixing. It is a complex multi genre production that tells the moving story of how an out-dated robot and a young (mathematician-inventor) woman get together. Through projection from on stage filming of puppets coming…

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Review: Songs not to Dance to, Riverside

Martin del Amo, Phil Blackman, in Songs not to Dance to.

Choreographer-dancers Martin del Amo (Sydney) and Phil Blackman (Lismore) collaborated on Songs not to dance to after an exchange program that brought together metropolitan and regional dance creators. Exploring “notions of compatibility / incompatibility, connection / disconnection and congruity / incongruity”, their performance is strange—and wonderful. As the show opens,…

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Review: Mother & Son Stage Adaptation

Noeline Brown, Darren Gilshenan and Rachael Beck in Mother & Son - Queensland Theatre Company. Image Supplied.

Queensland Theatre Company breathe life back into the beloved Australian TV series Mother and Son as they present the live-on-stage adaptation at QPAC. The original writer of the series Geoffrey Atherden wrote the stage adaptation; not as a direct copy and paste, but brought the play into the now with…

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Review: Caress/Ache, Griffin Theatre Company

Ian Stenlake in Caress/Ache for Griffin Theatre Co. Photo by Brett Boardman.

Caress/Ache is high drama – half ‘ripped from the headlines’ and half ‘personal relationships’.  Unified by surtitles explaining the synapses and receptors on our skin that allows us to experience touch, the action slides from character to character, all of them in crisis. Unfortunately, it’s unimaginative and emotionally manipulative. There’s…

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Adelaide Festival: Beckett Triptych

Peter Carroll, Pamela Rabe, Paul Blackwell. Image supplied by State Theatre Company of South Australia, Adelaide Festival of Arts

An extremely influential towering figure of 20th century literature, Samuel Beckett has challenged recent generations of students, actors and theatre directors, but nobody would ever say that understanding Beckett is a walk in the park. These three one-act plays are no exception, but were considerably enlightened for me and a…

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Adelaide Festival: House Of Dreams

House Of Dreams. Photo by Keith Saunders, Adelaide Festival of Arts

Delicate, rich, genteel, were all words which immediately came to mind the moment this extremely talented and accomplished band started playing on their period instruments, with the majority of the players arriving from the aisles. Starting their national tour for Musica Viva’s 70th anniversary in Adelaide as part of the…

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Review: Kill the Messenger, Belvoir

Lasarus Ratuere and Nakkiah Lui. Photo by Brett Boardman.

Kill the Messenger is so alive that it constantly interrupts itself to remind the audience that it has a very real beating heart.  Nakkiah Lui, playing herself, tears down the fourth wall of Kill The Messenger as soon as she climbs off Peter (Sam O’Sullivan), her love interest in the play. She…

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