The exquisite Japanese scenery is viewed through a conspicuously French lens: a longing for what was strange and unfamiliar, beautiful and haunting.
Browsing: review
It was a comfort and a joy to watch such stunning theatre made by local performers in local venues.
The scepticism aura-ing each character suffuses, never suffocates. Freud’s Last Session, while a grave title, has a feather touch. If this movie marks a revitalisation of Freud as person rather than Freud as stereotype, perhaps it is appropriate that his unearthing requires a little tenderness.
With basslines beating like hot-red veins, Zombie! The Musical will chew you up and spit you out.
While exciting and filled with large performances, the urge to force the dominos to fall causes the show to lose a strong thematic or aesthetic focus. The published synopsis lauds that the play “starts with a bang and races on like a runaway train.” If only it took a moment, especially at the start, to step on the brakes.
People say the Mona Lisa’s most memorable feature is her eyes that follow you around the room; that purposeful connection like the kind Kwa forms with her audience makes the difference between consuming and experiencing.
While the play showcased the devastating realities of terminal illness, it ultimately highlighted how ‘wit’ can instil a sense of determination in desperate times.
Despite its overwrought premise, director Jane Angharad manages to bring out the play’s more subtle themes through the intimacy she develops between the characters and the audience.
Whilst there were flaws in its execution, the production’s genuine attempt to bring something new to a play with such a fixed identity is admirable.
Yussef Dayes was unparalleled at the Sydney Opera House. That might have been the problem.