While the play showcased the devastating realities of terminal illness, it ultimately highlighted how ‘wit’ can instil a sense of determination in desperate times.
Browsing: review
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.
“You can take out locations, our music, the way we dress, the way we adapted to the desert lifestyle, language, religion but you can’t show our fucking faces.”
A deafening Wednesday night with one of the most bombastic legacy rock bands touring today.
Scott is seamless in his transitions, giving brilliantly controlled, and physically considered, performances.
YOU’LL NEVER FIND ME is an engrossing, nauseatingly intentional masterpiece of Australian horror that eschews the paranormal in favour of earthly terrors; a film so efficient in its purpose that I would gladly never watch it again.
Through deep vulnerability and introspection, Andy Freeborn invites the audience to share in a communal catharsis that transcended the confines of their rock cabaret.
All in all, Long Lost Loves (And Grey Suede Gloves) was a fascinating evening of singing and piano. It renewed, as Dowsley said, the “power and the rawness” of cabaret: the incredible talent of her singing, and the virtuosity with which Michael Curtain played the piano deserved the encore and ovation at the end.