This show is a genial celebration of Gilbert and Sullivan at their most gloriously camp. A buxom milkmaid, a brace of affected aesthetes, a posse of lovesick maidens and the 35th Dragoon Guards combine to entertain us with a soufflé-light satire on fashions in art and aesthetics. It may have been written in the late nineteenth century, but its universal topic makes it as much fun today as it was in 1881.
Author Pat Wilson
This cabaret compendium is a well-structured programme of Lehrer’s satirical songs, both famous and obscure.
The audience of this landmark piece of Australian theatre is transported for ninety minutes or so from the bleak cold of an Adelaide winter’s night to the interminable steam and heat of Darwin in the Wet. In precise language delivered with just the right cadence and intensity, Jada Alberts’ script brings generalised problems into specific focus.
Break out the Veuve Clicquot! We’re in Oyster Bay, Long Island, it’s 1938, and Tracy Lord is getting married to her fiancé, George Kittredge. No expense spared.
Done in one 75-minute sitting, its plot centres on the horror of a child accused of murdering a toddler. Did she do it? And if she did, what were the reasons?
With a steady One – Two – Three, SALOS whisks us back for three generous hours to the glamorous Vienna of 1845, and the melodic wellspring from which André Rieu’s fiddle still draws saleable music today.
In the 55 years since Edith Piaf’s death, the number of people who have heard her perform live has dwindled. Today, her devotees have to be content with recordings, some film clips, and Michaela Burger.
The event is a concert performance of Brahms’ German Requiem. It is to be sung by an elite choir, Rundfunkchor Berlin, accompanied by piano (four-hands). The event is headed Human Requiem, and Jochen Sandig, the man who first conceived its unique presentation, uses this famous choral piece to highlight community, ritual, sharing, humanist principles and connectedness.
theatre, theater, stage, Adelaide Fringe, Nightingale Productions, Joanne Hartshorn, Lizzie Grace, Alexandra Simonet, Noel Lothian Hall
This world premiere performance is a charming, accessible, entertaining and cleverly educational show which deserves to be seen, heard and enjoyed by children and their carers for many years to come.
When you call your drag show “iconic”, not only do you create high expectations in your audience; you also throw down a gauntlet. There’s an implicit challenge. Drag as a genre has a long, proud history;
Canadian Robert Lepage deploys lots of hardware and software to induce a light trance state in his audience, using the nostalgia surrounding space travel events recalled from childhood to speak to the human heart and its ability to love and forgive without understanding why.
Commissioned by State Theatre Company S.A. to write a work which examines the world of Australian Rules football and the varieties of sexual misconduct found within it, playwright Patricia Cornelius has written an intricate and elegant 6-hander which plays like chamber music.
OK, so Bassanio’s been killed – unlawfully killed, at that. The Chief Inspector is grilling that loudmouth drunk, Gratiano. Used to be a bit of a bovver-boy in his day; kick you as soon as look at you. Indignant, Gratiano asks the cop, “Do I look like a murderer?”
Megan Doherty does beautiful singing of interesting songs in an elegant venue, with a theme of creativity, sensitivity to one’s muse, and how performers stay both brave and vulnerable.
Alcestis is a curious play. It won its author second prize in Athens at the Dionysia Dramatic Festival back in 438 BCE. It’s a mixture of homily, poetry and groundling-pleasers.
Hard-core Peggy Lee fans cannot complain about repertoire choice, presentation or musical style as Brigitte Baden-Rennie performs her intelligent and entertaining homage to the great jazz/pop vocal stylist.