Articles on ‘Sydney Theatre Company’
The State Theatre Company of South Australia has announced its 2016 Programme. Co-productions represent the defining feature of the season with 6 of the 10 shows made so; including a new partnership with the British company ‘Frantic Assembly’ which will take an Andrew Bovell authored production, Things I know To Be True, to London itself…. Read more.
Leticia Cáceres has a chillingly cerebral directorial vision for Death and the Maiden, Ariel Dorfman’s 1990 play written from and premiering within the still profusely bleeding wound of Chile’s devastating Pinochet regime. Gerardo (Steve Mouzakis), recently appointed to a human rights commission investigating a previous (unnamed) regime’s horrors, gets a flat tyre on his way… Read more.
Actor, screenwriter, librettist and playwright Kate Mulvany is the latest recipient of Sydney Theatre Company’s (STC) Patrick White Playwrights’ Fellowship. The Fellowship, now in its fifth year, is a position for an established playwright whose work has been professionally produced in Australia. Mulvany receives $25,000 in recognition of her body of work and previous artistic achievements. As… Read more.
Samuel Beckett’s Endgame is currently seeing two productions in Australia – one by Melbourne Theatre Company, directed by Sam Strong, and one by Sydney Theatre Company, directed by Andrew Upton. I can’t speak for the Melbourne production, but in Sydney, the production is slowly, creepingly extraordinary: a spell that binds you, over time. Last year,… Read more.
Jane Turner is the heart and soul of Jumpy, a Melbourne Theatre Co production presented by Sydney Theatre Co that has just landed at the Drama Theatre. She is Hilary, fifty years old and floundering as a parent, a professional, and a partner, and Turner is hapless and sweetly bewildered in a performance that, under… Read more.
Olwen Fouéré’s riverrun, her winding monologue that brings shape to some part of the literary beast that is James Joyce’s Finnegan’s Wake, is a curious work that actively encourages you to turn off your brain. It begins as a smooth, puzzling struggle.Fouéré is the voice of the river, taking her inspiration and the bulk of her text… Read more.
Tennessee Williams always encouraged the reach for something more in the stage directions of his plays, seeking for an elevated storytelling method and set design that would heighten and reinforce his close explorations of the humanity he best knew: the world of his family and beyond where he grew up, in the American South, writing… Read more.
An institution in Sydney theatre by now, The Wharf Revue, in its 15th year, opened this week at its home at the wharf theatres. This year, titled Open for Business, the troupe (consisting of Jonathan Biggins, Amanda Bishop, Phillip Scott, and Douglas Hansell, a newcomer this year – Drew Forsythe appears only briefly, on screen) regaled… Read more.
Children of the Sun was written in 1862 and yet, somehow, it manages to feel completely of this moment. The heart of it beats steadily, curiously, towards something that’s so relevant now: our unease in a changing world, our awareness of danger, that we’re not quite out of the woods yet – an impossibility to… Read more.
Walking into this production is like nothing else. The audience (much smaller than usual, only 360 people can fit) sits on the stage, on temporary seating, which is either fine or not comfortable enough, depending on who you ask. In the maw of Sydney Theatre, four rows of seats have been removed, and lighting has… Read more.