The premise of Marcia De Marco's CabaMAret is her addiction to her mother: can’t live with her, can’t live without her. It's an original, well-written production with a bunch of unusual songs and a thoroughly polished central performance, writes Lloyd Bradford Skye.
In this brilliant adaptation of Faustus everyone involved seems to subscribe to a less-is-more or, at least, enough-is-enough philosophy of theatrical production. It all works superbly, says Lloyd Bradford Skye.
The Sydney Opera Theatre's new production of Richard Strauss' last opera has wit, opulence and a Teutonic version of tenderness. The performers are flawlessly comely and compelling, writes Llloyd Bradford Skye.
Turns boasts that it is "a pantomime with a twist." But it’s the familiarity of the performers rather than the originality of the material that will entice audiences to see this charming vaudeville act, writes Jason Whittaker.
Former Sydney Theatre Company artistic director Wayne Harrison's Wikiplay attempts to diagnose the personality of Julian Assange. It's a well-written and thrilling visceral ride but doesn't present any real revelations, writes Lloyd Bradford Skye.
Cheeky and irreverent, Circus Oz is distinctly Australian in its bawdy mix of cabaret, burlesque and athletics. Director Mike Finch's artistic vision is impressive, even if there’s nothing very cohesive about the show's rough narrative, writes Jason Whittaker.
Faust, even in this English translation, is not for the faint of operatic heart, with its dense score and satanic setting. Melbourne Opera brings some light to the darkness, even if it falls under the bar it sets itself, writes Jason Whittaker.
Three flawless actors strut their stuff in this well written and beautifully designed contemporary Irish production that presents a collection of fractured hyper-real anecdotes, writes Lloyd Bradford Skye.
All power to our high profile artists, like Cate and Tim Winton, who refuse to be intimidated into silence, writes David Williamson.
The cleverly-named annual event Bodytorque, at the Sydney Opera House, is determined to present the edgy and up-and-coming, billed, deftly, as “a new movement in ballet," writes Lloyd Bradford Skye.
