The production seamlessly leaps through locales with each scene, and the bare bones set leaves the audience with no distractions from the cliché-free romance unfolding before them.
Tagged: Holden Street Theatres
Blood At The Root not only explores the impact of prejudice, but the expectations and burdens of racial and sexual identity themselves.
Webb is an earnest actress whose references to Adelaide locations kept audiences engaged, but…
This account of one of the Great War’s most under-reported struggles is long overdue, although Ettie herself would probably have wondered what all the fuss was about.
Chelsea Evans and Eddie Morrison deliver remarkable performances, clearly exhibiting every emotional nuance and change of beat. Not a second is wasted, and director Lisa White and assistant director Hannah Bennett should be praised for their innovative and breathtaking use of the confined space available.
Based on the novel by Kenneth Cook, Wake in Fright tells the story of a young and cultured teacher who is eager to escape the confines of the city over his summer break. Becoming stranded in the mining township of Bundanyabba, and gambling away his already meagre wages, audiences witness teacher John Grant quickly enter a booze-fuelled downward spiral.
It all flowed wonderfully, and the characters are very funny; sometimes so real and familiar, and other times so ludicrous and unexpected, that you either find yourself nodding vigorously in recognition or slapping your hand to your mouth in surprise.
A man spends time with his mistress, as his wife bangs the private investigator she had hired to follow him and plots her husband’s murder.
All of the attempts to create intimacy within this play are highly successful – the audience will leave feeling as though they really known these characters, like they have truly spent this special day with them.
You don’t need an interest in theoretical physics to enjoy Relativitively Speaking, but you might walk out with one.
Bitch Boxer is, simply put, outstandingly good theatre. If you’re looking for strong, engaging, funny and triumphant theatre, then you could hardly make a safer bet.
Some of their silliness is funny because the sketch concept itself is just a little bit brilliant, but mostly the hilarity comes from their absolute commitment to any idea that pops in their head.
Joseph (Brad Williams) and Karl (Matt Crook) are two lost souls at the edge of existence, scratching out a living in a dystopian wasteland and collecting weapons against the prisoner that they guard...
The play is very light comedy peopled with very stock characters telling a very unimaginative tale. But it isn’t actually boring, somehow. The actors are very good, despite some verbal fumblings, and the vernacular dialogue is dead-on.
The greatest trick Stuperstition pulls off is that it indulges your doubts as a rational person, with jokes about homeopathy and references to the scientific method, and then whacks you on the side of the head with confounding illusions.