18 December 2009

Tis the season to watch the telly

Tis the season to watch the telly, drink coloured drinks and eat all the sugar you daintily refuse throughout the year.

DVDs are brilliant for watching a whole season of Buffy in one sitting or weeping at the bliss of anything made by HBO, but it's not the same as turning on that box and finding something you love or hate and not being able to escape its clutches, as you scoff the box of Favourites you got for work Kris Kringle (with a K in case the religious meaning of our overeating festival offends) and thinking that perhaps you do a need space-wasting machine to get rid of your love handles, but luckily the phone is out of reach of the couch.

Even if telly is only the second most common source of on-our-own pleasure, when we watch broadcast programs, we are somehow connected with all the other people doing the same. Who hasn't watched an episode of their favourite program, complete with ads, even though the DVD of the series is right next to the TV. There's something about knowing that hundreds or thousands or millions (if you're watching Masterchef) of other people are sitting in their living room, wearing their underwear and eating straight out of the microwave dish, just like you.

But I don't want to do it anymore, cos telly has become so blah.

I kept watching so that I could  read the gorgeous and addictive commentry of Catherine Deveny (on Saturday) and Marieke Hardy (on Thursday) in The Age. Marieke made me proud to love Matt Preston, Catherine convinced me that Nigella's food porn is worth a watch and, I think, one of them made me watch an episode of Wife Swap.

But in one damned week, they both said goodbye.

Marieke's last Green Guide musings.
Catherine's last A2 hoorah that summed up what I was feeling far too well.

Ok, it's the wonderfully written abuse that I will miss. Who could forget Ms Hardy's "If I had to choose between sitting through another episode and having a threeway with the Two Ronnies I'd be stripping off and telling the world it was goodnight from me before sauntering back to the boudoir. And yes, I'm fully aware one of them is dead."

I'm going to miss you both.

13 December 2009

Review: Godzone

Melbourne Theatre Company
10 December 2009
Sumner Theatre

I’d hand out how to vote cards for Max Gilles if he ran for any public office, especially now that he and writer Guy Rundle might be looking for new jobs because Godzone is a bit of an unexpected snooze.

Admittedly, with the federal Liberals putting on a farce that has made their supporters cringe and left the rest of us laughing as hard as we would at a Max Gilles show, this new show had a tough comedic act to follow this week.

Gilles have been satirising our pollies since Bob Hawke was Prime Minister. The Gilles Report on the ABC was my teenage source of political information and his latex-assisted satire has continued to be biting and accurate. Following Don Watson and Patrick Cook, Guy Rundle joined Gilles as writer in the year that Little Johnny got to sit at the head of the grown ups table.

Conservative pollies with severe short-man complex are a gift to pinko, pesto-eating comedians and their followers, who sponsor poor kiddies from the not-so-lucky countries and welcome anyone as their neighbour (except Liberal voters, of course). It’s hard for the left to lampoon and verbally sodomise their own.

Gilles’s Kevin07 has his jingo Aussieisms, his marketing speak and his Mandarin, but he’s not as ripe for the picking as Labor leaders like Bob or Paul. Face it, Krudd can be a bit dull and even if he doesn’t live up to all his promises, he was the one who finally let us say ‘Sorry’. Gilles’ Mad Monk Abbot can call him the Milky Bar Kid, but it’s about as painful as being lashed with a silk ribbon. There was room for some comments on being Sri Lankan and cruising the Indonesian seas and I don’t remember hearing the acronym ETS.

As Kev and Tony openly admit that their Christian faith and beliefs influence their political and personal decisions, Godzone brings the big guy into the picture in a Kevin-style think tank where even token conservative Andrew Bolt can have a say.

I expected Bolt-through-the-brain to be the character to bring back the gut-aching laughs. He could have made fun of us – the people in the audience dying to laugh. Telling us we like goats cheese and John Safran is like reminding us that we like theatre and a glass of fizz. It’s not satire. If we can’t tear new-ones for our pollies because we don’t despise them as much as we used to, perhaps it’s time to turn the spotlight on our selves – and Bolt-from-any-sense is a perfect character to do so.

Godzone is running through the over-eating season until mid-January, so I reckon it’s going to change. Rundle and Gilles are too good to let flat material stay and director Aiden Fennessy knows how to bring laughs to a stage. I wouldn’t rush for tickets just now; wait and see what the punters are saying after the day of exchanging crappy presents.

This review appeared on AussieTheatre.com.

Anonymous comments

Sometimes Melbourne welcomes all opinions, but does not publish anonymous comments (and has removed any that snuck though).

We all know that a two-cheek air kiss and a "Luv your work, darling" doesn't mean that the kisser loves your work. If you sneak up behind them at the after party, you might just hear them bitching about how crap you are as they drink the cheap wine you bought from Dan's with your own money.

Like telling your lover that they look fat or they can't cook or their oral sex technique leaves you cold, we don't always tell people the absolute and honest truth because we love them, we respect them or we don't want to send them to therapy.

And sometimes the opinions we share with our close and trusted friends are slightly different from those we say to the world.

Anonymous comments are usually things you won't say to someone's face.

It's like shoplifting a Sharpie from Officeworks and scribbling abuse on the toilet door of your favourite pub in the hope that it gets seen when the object of your opinion has had a few beers and needs to wee.

If you have an opinion, put your name to it. You might even change some other people's opinions.

12 December 2009

What I Loved: 2009

What I loved in 2009

Reviewers: you either love us a little bit too much or we’re ignorant, bitchy wannabes who wouldn’t know art if it bit us on the bum and left a nice pattern. (Which may be true.)

This year I’ve been told I’m too nice, I’m too nasty, I write too much and I don’t write enough. So a perfect review is not too much, not too little, not too sweet and not too bitter? Sounds kind of bland, Goldilocks.

Opinion is merely that, an opinion. I don’t know anyone who writes about theatre who doesn’t love it to their very core and I’ve yet to meet anyone who has the exact same taste as me.

So, please don't trust what mere reviewers or bloggers say – get out there and make up your own mind. Just keep seeing live art. See the stuff you’ve read about, the stuff you’ve never heard about, the shows people rave about and the ones they hate. You’re not going to like it all, and you’ll disagree with what other people think, but every once in a while you’ll be left breathless or in tears or laugh so much it hurts as you’ll wonder how these glorious artists knew exactly how you felt and put it on a stage.

These are some of the wonderful and totally awesome artists who blew me away this year.

Outstanding Artists 2009

Jackie Smith for The Flood
Lally Katz for The Apocalypse Bear Trilogy
Sarah Collins and Justin Kennedy for Donna and Damo

Shirley Cattunar, Caroline Lee and Maude Davey in The Flood
Ash Flanders in I Love You Bro

Finucane & Smith for The Flood, Salon de Dance, The Feast Of Argentina Gina Catalina, and Burlesque Hour Legends.

Outstanding Productions 2009

Dead Men Tell a Thousand Tales – Mikelangelo and The Black Sea Gentlemen
The Last Tuesday Society Richard Higgins, Bron Battern and everyone else

Avenue Q

When the Rain Stops Falling – MTC and Brink Productions

The Oracle - Malthouse Theatre and the Sydney Opera House

Goodbye Ruby Tuesday – Justin Hamilton and Hannah Norris

The Best of the Best

The Boy with Tape on his Face –  Sam Wills
Exit –  Ghostboy with Golden Virtues
Le Salon – Peeping Tom

My favourite of 2009

Floating - Hugh Hughs

The 2008 winners.

This also appeared on AussieTheatre.com.

11 December 2009

What's on this week? 11 December

What's on this week? 11 December

Finucane & Smith's The Flood is at La Mama.

Book, because word around town is that it's rather brilliant - and trust the word around town!

The Flood
to 20 December
La Mama

On Ego
to 19 December
Red Stitch

to 12 December
St Martins
Terrrifc cast. review

One Is Warm In Winter, The Other Has A Better View
to 13 December

Charles Dickens Performs A Christmas Carol
to 16 December

Review: 1989

St Martins
9 December 2009
Irene Mitchell Studio, St Martins Theatre Complex

In 1989, I used a hair dryer diffuser, a handful of mousse and a huge bow to do my hair; I wore stirrup pants everywhere and spent a lot of money on my first portable compact disc system. Some of The St Martin’s Performer’s Ensemble hadn’t been born yet and are now part of the generation who think that ra-ra skirts need to come back, but have used this far gone year to inspire their showcase performance.

St Martin’s Performer’s Ensemble is an audition-based program for 18 to 25 year olds, who spend an intense year collaborating and developing. For 1989 they worked closely with The Emerging Writers’ Studio, which gives four writers the chance to create a new work under the guidance of a professional dramaturge (Melanie Beddie).

Michelle Lee and Dan Giovannoni (who both stood out at the 2008 Short and Sweet festival) Samantha Hill, Christopher Summers (writer of theatargh blog) may not have captured the essence of 1989 (or needed to), but they showed us the originality of their voices. All need to trust that less can be more and to dig deep and trust that their personal stories will be the ones that audiences will love, but they shared a specific and at times revealing view of being 20-something today.

And they all wrote specifically and beautifully for the actors. Their scripts allowed each member of the ensemble to really show us what they are made of and why we will be seeing much more or Danielle Asciak , Danny Ball, Darcy Hegz , Juliet Hindmarsh , Melissa Kahraman, Douglas Lyons, Ruby Mathers ,Angelique Murray and Xavier O'Shannessy in the very near future.

The review appeared on AussieTheatre.com


 The grouse writer and actor Peter Houghton wrote this about reviews for The Age.

10 December 2009


Many independent artists who now call Melbourne home are from our capital.

Yes Canberra is indeed a strange place - but small, strange cities have an intensity and a freedom that can create amzing art.

I spent three cold winters there at a time when arts support and funding was diminishing, but I could see what a thriving and original arts scene had existed in the 1990s.

Musician ,writer and arts worker Gavin Findlay still lives in Canberra and has written this terrific piece for Real Time about arts in the town of bureaucrats. Part onePart two.

He also wrote this review about the 2001 Festival of Contemporary Arts (FoCA5 program)

FoCA5 staff

08 December 2009

Review: Tim Minchin: Ready For This

Ready For This:Tim Minchin
Paul Mcintyre Entertainment
4 December 2009
The Palais

If you don’t already have a crush on Tim Minchin, what’s wrong with you?

As nearly 3000 people screamed their love for Tim at The Palais on Friday night, it was hard to believe that is wasn’t that long ago that I heard about this guy who plays the piano and checked out his comedy festival show – and fell a little bit in love.

Tim may be from Perth, but he started doing gigs in Melbourne, so we claim him as ours. Today he tweeted ‘I heart the fuck out of this place’ -  and we heart the fuck out of you Tim.

Some discovered him early at the Butterfly Club, but the rest of us found this barefoot, affable, kind of nerdy, kind of genius at the Hi Fi Bar and, as he won some Green Room Awards, we looked forward to intimate shows every year where we would buy his CDs and despair over our cheap merlots why only us super-intelligent, arty, lefty theatre goers can see how great he is.

Then he went to the UK and they refused to let him go. He sold out The Forum last comedy festival, but came home again to play The Palais. His name was up there in plastic letters right next to Glen Campbell’s! The only difference was that Tim’s also had a red SOLD OUT sign.

Our Tim sold out the The Palais! He sold out the huge and wonderful deco palace of faded elegance filled with the memories of sweating international rock stars. (The Palais is where you go when you’re too big for the Prince and not yet miming with a fake circus at a sports stadium.) Our Tim is an international star!

Nearly 3000 people came in from the suburbs or dared to venture from the north side of the river to see our Tim, have cake in Acland Street, remember throwing up on the Luna Park roller coaster, and swear when they get a parking ticket because they really do have inspectors checking until midnight in St Kilda.

The noise of those nearly 3000 fans screaming from stalls, lounge and balcony is something that Tim deserves.

He hasn’t changed. His shows are tighter and he’s much more comfortable in a big space, but he still makes a huge room feel intimate, makes his most rehearsed moments feel fresh and still sings, beats and chats about the things he cares about. When work comes from passion and heart, it doesn’t matter if anyone disagrees. Of the sold out Palais crowd, I’m sure that a few folk wanted to share their faith with him or read his palm and calm him down with some Reiki – but differences of opinion mean nothing when we all want to drink white wine in the sun with Tim and his family.

I’ve been humming ‘Canvas Bags’ every time I go to a supermarket for over three years now and my heart still goes out to Guardian reviewer Phil Daoust every time I hear Tim’s ditty to the journ-a-loust who must have been having a really shitty day and just didn’t get our Tim (but, as my surname rhymes with weird, I’m glad that the definitive anti-reviewer song has already been penned.)

If you saw Ready for This earlier in the year, this return show is extended and more cohesive (and the bit about his daughter and the pennies has gone – it was inspired, but I can see that it’s not a joke for everyone). Tim’s off to Adelaide, Auckland and Perth in the next week and there are more shows in February for Adelaide, Melbourne, Newcastle and Sydney. All his venues have red plastic SOLD OUT signs, so you’re going to have to book – and get tickets for everyone you know.

Photo by Dan Dion

This review appeared on AussieTheatre.com.


The best source of Melbourne theatre reviews from 1998 to 2004 was Stage Left.

There are about 800 reviews on their archived site, which you can find here.

It's a brilliant record of what Melbournites saw way back at the turn of the century. A time when dial up internet was all the rage, and a time when I was working in Canberra, reading Stage Left and thinking how wonderful it must be to live in Melbourne and write about theatre.

Editor Tim Richards still reviews for The Age, when his travel journalism isn't taking him somewhere in the world.

Stage Left writer Narrelle Harris hasn't stopped writing. (I highly recommend her wonderful vampire novel The Opposite of Life.)

And you can hear writer John Richards on Joy 94.9s The Outland Institute and the Boxcutters TV podcast.

Review: One Is Warm In Winter, The Other Has A Better View

One Is Warm In Winter, The Other Has A Better View
Platform Youth Theatre

6 December 2009

We try not to talk about faith, belief or religion at dinner parties because we don’t want to cause arguments. And for subjects that are mostly based on love and the creation of a better world, it’s always brave to state what you really believe or question the faith of others. Platform Youth Theatre have been asking questions and exploring their own beliefs over the past months. One Is Warm In Winter, The Other Has A Better View is the result.

Working in workshops with writer Adam J A Cass and director Caitlin Dullard, the company has developed a beautiful, open and honest look at faith. Opening with a Jewish and a Muslim narrator who claim they intend to insult everyone and force the audience to reassess the foundations of our own faith, the work thankfully doesn’t insult any belief.

Working with an allegorical story about an apple orchard in a valley that could be nourishing or poisonous, the imagery of climbing and falling and seeing and not seeing allow for a remarkably complex and surprisingly beautiful and poetic discussion of faith or the lack of.

Many opinions are present, but none define the work. The capacity to hate is as extreme as the capacity to love and accept and believe. Cass’s voice can clearly be heard in the controlled language, but he has allowed the opinions of cast to control the content.

Using the full open space of fortyfivedownstairs, Tanja Beer’s design of apples creates an endless space that flows with the magic realism of the script and its combination of fresh, bruised and rotting fruit parallels the script, while creating an imagery of its own – and uses the space perfectly.

On the Platform Youth web site, cast member Lewi writes why he loves everyone involved in the project. If an exploration about faith and religion can create love, well perhaps we should be discussing it more.

This review appeared on AussieTheatre.com.

Review: The Flood

The Flood
Finucane & Smith and La Mama
6 December 2009
La Mama Theatre

A trip to La Mama can be a long hour where you look forward to browsing the Readings sale table and choosing a pastry at Brunetti. The Flood isn’t one of those shows. It is the best piece of new theatre I’ve seen this year.

Jackie Smith is best known for her divine direction of Finucane & Smith's The Burlesque Hour and other wonders, but she has written a script that puts many writers to shame and I’m wondering if she was hanging out with the Shelleys and their friends in Geneva in 1816.

Gothic is more than old Cure albums and spider web tattoos or even knowing when Mary Shelley conceived the idea for Frankenstein. Gothic literature explores the horror within ourselves and society. It has spawned many a B grade monster, but the authentic stuff really makes your soul shudder. Finucane & Smith’s Gotharama helped me past my false conceptions of Gothic, but The Flood makes me want to start wearing copious amounts of eyeliner and abandon my habit of wearing bright colours.

Two estranged sisters and their demented mother spend a night on their family property. They are isolated, spooked and full of secrets. It’s an Australian Gothic horror that defines the genre.

The story surprises, shocks and still keeps its secrets. It lets us laugh, but never undermines the characters, who are those rare fictional beings so real you know them. They evoke love and hate in equal parts, as you want to stand up and slap them, but can’t because you understand everything they are doing.

The script is remarkable, but it shines with Laurence Strangio’s contained direction; Bronwyn Pringle’s lighting and the Sisters Hayes’s design that creates the most space ever seen in La Mama, while still making us feel cramped; and Natasha Anderson’s sound design makes you want someone brave to go outside and check the rising river.

Which leaves the cast: Shirley Cattunar, Caroline Lee and Maude Davey. I’m at a loss for words. They never let us see the acting.

The Flood will move to bigger theatres, but none will have you in the living room with them or capture the cramped and spooked atmosphere of La Mama. So see it now. It’s sad and oppressive and holds your heart in your throat as you beg to know truth, but know the truth will hurt too much to know. See it. See it. See it.

This review appeared on AussieTheatre.com.

06 December 2009

Review: The Oracle

The Oracle
Malthouse Theatre and Sydney Opera House
5 December 2009
Merlyn Theatre, CUB Malthouse

I’m still holding my breath from experiencing The Oracle.

I know many people who don’t like contemporary dance. This work isn’t for you. It’s created for those who yearn to lose themselves in deeply symbolic, emotionally intense artistic indulgence.

The prolonged opening of Regis Lansac’s projections uses earthy rich browns and kaleidoscope images that distort and mirror religious icons merged with dancer Paul White’s body. Once White is on the stage, the need for the early breathing space and settling becomes clear as his astonishing performance engraves itself on your heart.

The intricacy of Meryl Tankard’s choreography shows White (who co-choreographed) as more than human physical perfection (yes, he’s hot), but leaves him lost and struggling against forces that reveal the inadequacy of strength and perfection. It’s inspired on the struggle faced by the first man to choreograph ‘The Rites of Spring’.

It’s hard to imagine the shock that Stravinsky’s ‘The Rite of Spring’ caused in 1913, or appreciate the influence this remarkable piece of music has had on contemporary dance. As it changed the choreographic aesthetic of the Ballets Russes, it filtered through the likes of Martha Graham and Pina Bausch, and Tankard (who danced with Bausch’s company) creates it as solo work about the human trauma and violence within a world controlled by greater powers.

Well, that’s what I understood. Although a clear narrative drives the creation, searching for the story on the stage will only detract from its impact.

This remarkable work may leave you crying without conscious reason, or evoke memories that have nothing to do with the stage story. This is exceptional theatre.

This review appeared on AussieTheatre.com

Review: Short and Sweet 09 Top 30 Week 3

Short and Sweet 09 Top 30 Week 3
Short and Sweet
5 December 2009
Chapel off Chapel

Three cheers for Week Three! The final top 11 for Short and Sweet 2009 proved that, even with a few duds, this festival needs to stay around, as original stories and a sense of fun came back to the stage.

Pat Sheil’s A Safe Pair of Hands is a funny and original look at an Anzac legend, and what a treat to have John Derum on the stage.

A Matter of Taste was as light and complex as a beet foam infused with basil, and as intriguing as the Masterchef  final. I love that writer Kathryn Goldie knows that audiences are clever creatures and left the ending open.

The Most Dangerous Woman in Europe was the Queen Mum, when she was just Queen. I liked the idea that she was really Eric’s mum, but there were some holes in the plot that left too much unanswered.

You May Kiss The Bride is a lazy title for a delightful work. Emma Moore immediately makes the audience part of her story and doesn’t let them go. It may work better to keep where they are a secret for a bit longer and let the audience figure it out before the characters do.

Jane Miller continues to writes great short plays that reveal complex characters, and it was wonderful to see her working with comedy in The Tea Break. Anyone who has ever worked in an office has wanted to do exactly the same thing.

Suburbia was bogans fucking. It made fun of stereotypes and anal sex and no one seemed to use condoms.

Difficult Circumstances With Time Bomb (and ‘yuppies’). When there’s a bomb in the room and the title, you have to make us really care about the folk in peril. It was very funny though, even if it ended a few seconds too late.

Paul Tolton’s This is Heaven made up for it’s lack of real story by being gorgeous and sweet and showing a wonderful relationship that we cared about.

Carl Sorheim’s It’s All The Rage made me uncomfortable. I didn’t enjoy the experience – which is so much better than just not caring.

Short Sharp Shock is a terrific joke that was eight minutes too long with an ending that must be binned before its next outing.

Wonderful puppets, the best costumes of the festival and some beaut jokes, but Limpets came unstuck with story.

PS - Last week I suggested that a Best of Short and Sweet program would be great and, if I’d read the program fully, I would have known that there is one already planned.

This review appeard on AussieTheatre.com.

Week 1
Week 2

05 December 2009

What's on this week? 5 December

What's on this week? 5 December

This week the amazing B52s proved that you're never too old, our adorable Tim Minchen sold out The Palais and I haven't been home to write!

If you're looking for something to see tonight, there's Spontaneous Broadway for a no-risk fab night out (with, as confirmed by The Age, Melbourne's coolest thing - Julia Zemiro) , or The Oracle if you want some serious art to make you jaw hit the floor or Short and Sweet Week Three might turn out to be a winner.

Spontaneous Broadway
Comedy Theatre
If you haven't seen this yet - do. If you have - I'll see you there.
2007 review. 2008 review.
2009 is just as brilliant.
Last show tonight (Saturday 5)

The Oracle
Malthouse Theatre and The Sydney Opera House
If you love dance, you will not forgive yourself if you miss it. Simply astonishing but it finishes tomorrow (Sunday 6).

Short and Sweet
Chapel on Chapel
Final week! The festival is still great, even if the general feeling is that the writing needs a kick up the bum.
Week Three, Top 30 wasn't bad. The final is on Sunday (6) and the best together will be a pretty good night.
Week One, Top 30
Week Two, Top 30
Week Three, Top 30
Short and Sweet reviews 2006-08

Charles Dickens Performs A Christmas Carol
Eagles Nest Theatre
Phil Zachiriah IS Charles Dickens. I've seen it twice and think it's brilliant. Or just see it to remember how a great story teller tells a story.

On Ego
Red Stitch
If you saw Grace at the MTC earlier in the year, you have to see this work by Mick Gordon - and see how his words can be told in a very different way.
Until 19 December.

The Flood
La Mama
The perfectly wonderful
Jackie Smith (The Burlesque Hour etc) wrote this. I can't wait.
DO NOT MISS IT. It may be the best thing I've seen this year.
3-20 December

St Martins Youth Arts Centre
Four short plays based on the ancient world of 20 years ago. Great chance to see some of our best young writers and performers.

One is Warm in Winter, the Other Has a Better View
PlatformYouth Theatre aim to be  the most innovative and inclusive theatre company in Melbourne for people aged 16 to 26. This show looks at faith.
I really enjoyed it.

until 13 December

Review: Spontaneous Broadway

Spontaneous Broadway
2 December 2009
Comedy Theatre

If you hate musical theatre, see Spontaneous Broadway. If you love musical theatre, see Spontaneous Broadway. If you’re indifferent to musical theatre, see Spontaneous Broadway. Just see Spontaneous Broadway. It could be the most fun night you spend in a theatre.

Spontaneous Broadway is improvised musical theatre, with a selection of songs (the audience suggest the titles) and a full performance of the musical chosen by clapometer.

Tonight’s finalists were Another Life Out There, the story of flamboyant Gareth, whose dreams of theatre fame were crushed by Daisy the cow in a milking accident, and his geek brother Graeme, who will always have a spot for his bro on the family farm. Their moving duet ‘Ballarat Beats Broadway’ was a mere whoop and a foot stamp away from winning. But a couple of squeals and some understandable passion to see Julia Zemiro playing a sexed-up young lady left I do, I think as the night’s choice. And the story of Flossy Moss, her posh mum and her faux vegetarian boyfriend will long be remembered for the sleeper hit ‘But he’s a Hari Krishna’ and because Julia can make herself look naked in full stage blacks.

John Thorn and Russell Fletcher brought this San Francisco hit formula down under and were joined by the perfectly perfect cast of Zemiro, Genevieve Morris, Geoff Paine and Ross Daniels. How many performers have nightmares about going on stage and not knowing their lines? These people don’t know their lines until they say them – and they have to sing them! If you like to see improvisers fail, you will be disappointed, because they are so brilliant, it’s hard to believe it’s not scripted.

I’m on my third annual visit and I’ll be back as soon as I can. Adelaide Fringe and Melbourne Comedy Festival are next on the circuit. Book your tickets as soon as you can – and if you don’t crack a rib laughing, check that you’re not dead.

This review appeared on AussieTheatre.com.