Archive for Category: "Stage"
Hedda Gabler – a name said with admiration, envy, lust. Pedestalled by those around her, an entity to be idolised, everything Hedda does is entirely of her own volition. ASHLEIGH KNOTT reviews.
What do you think about when you hear the word ‘burlesque’? A woman drowned by a feather boa, pouting her rouge red lips? A barely covered seductress donning fishnet stockings ready to give a strip tease? Or perhaps a 25-year-old male defying the boundaries of performance and contributing to a ‘feminine’ art form? CELESTE VILLANI explains.
The 7 piece band (which includes a banjitar, clarinet and washboard amongst its ol’ time orchestra) shared 1920s style swinging soul and blues tunes, making the audience itch to throw aside their chairs and start to Charleston – in fact, many did just that later in the night. LUCY AHERN reviews.
Clomping up the concrete steps of the State Theatre Company Workshop, the crowd piled into plastic seats, clutching glasses of red wine and fanning themselves with the play’s programme. The stage was uninhibited by the mask of curtains, and the set emanated a grungy feel. It seemed to be the perfect place to host an adaptation of Leo Tolstoy’s confronting, raw and deeply philosophical novella: The Kreutzer Sonata. TRISH O’LOUGHLIN reviews.
The show’s overview says you’ll leave “wondering which way is up”. They’re not kidding. ASHLEIGH KNOTT reviews.
In the Next Room is not just about the invention of electricity and the electric vibrator, but about relationships, gender, race and women discovering and claiming their sexuality, writes LIBBY PARKER.
Pornography. Seeing a play with such a title emanates a certain expectation of what you are about to see. However, this play was nothing like I expected – and in a good way, writes CHLOE SVAIKAUSKAS.
Blasted boasts that it is “what good theatre should be: when you go out, you’re not the same person you were when you walked in.” From the very beginning as it opens in a hotel in Leeds in Britain, Blasted is a dark and interesting play, writes MELISSA BERMINGHAM.
For many of us, our exposure to poetry is limited to the ramblings of our high school teachers who drone on about dull prose by those long dead. But as MARIYAM SALMANZADEH discovered, there is a slam poetry movement in Adelaide, transforming poetry into stanzas to sing, sputter, whisper and gesticulate.
At the end of this month, Adelaide will play host to the National Irish Dancing Championships, where Australia’s best will bring out their best Celtic dancing. The standard is high, and EMILY ERICKSON soaks in the excitement before this year’s competition.