Riverside Theatre, January 6-9 Darlinghurst Theatre Company, January 13-30 Highly recommend this one for folks fluent in online/social media literacy. It’s one of the most entertaining and clever examinations of identity (covering race and gender politics, and all the ways in which they intersect) and the twittersphere I’ve ever seen. This is the debut play of award-winning British writer Jasmine Lee-Jones and it is a fast-paced two-hander. Seven Methods of Killing Kylie Jenner I fell hard for this production the first time I saw it this year and so did most of Sydney, seeing as it kept selling out. The latter’s season includes what sounds like a very black comedy about death seen from the perspectives of a grandmother, mother and daughter from the same family.Īfter the last two years, death needs a good airing, and Melissa Bubnic’s Ghosting the Party, which won the 2017 Lysicrates Prize, sounds like just the ticket, directed by Andrea James, and starring Belinda Giblin, who so recently excelled in Beckett’s Happy Days. Ghosting the Party A feature of the 2022 Sydney theatre scene is the number of new Australian plays being staged, notably by the Ensemble and, of course, by the home of Oz writing, Griffin Theatre Company. It’s funny, insightful and packed with the slang of diverse Asian cultures, while Priscilla Jackman’s production is whip-smart. King will have your head spinning with her intellectual somersaults about racism, corporate culture, animal cruelty and why women use cosmetics.
Just the premise of Anchuli Felicia King’s play, which received its world premiere at London’s Royal Court (and has since played at Riverside Theatres), crackles with electricity: six young women work for Clearday, a Singaporean cosmetics company that’s developed “White Pearl”, a skin-whitening product.Īn ad for it that lampoons black people is illicitly released online and goes viral.
White Pearl White Pearl unfolds at breakneck velocity and all the time you’re watching you feel like you’re being drawn inexorably closer to the edge of a precipice. Sydney Opera House, January 13-23ĭeborah An, Mayu Iwasaki and Vaishnavi Suryaprakash star in White Pearl. Edward Albee’s Who’s Afraid of Virginia Woolf has achieved near-mythical status as the ultimate depiction of domestic warfare.ĭirector Margaret Harvey dares score even more lines of latent conflict into her production by relocating the play to Australia and using a diverse cast, with Susan Prior as the terrifying Martha, Jim Bani as her husband George, Rashidi Edward as Nick and Juanita Navas-Nguyen as poor Honey. Who’s Afraid of Virginia Woolf It’s not often a production from State Theatre Company South Australia comes to town, and this time it looks like they’re going to lob an improvised explosive device into the middle of Sydney Festival. Bella Vista Farm, December 11-30 Leura Everglades, January 8-23 And being set in a forest (for once, of the benign variety), how better to see it than picnicking outdoors. It bounces back, appropriately, with the most optimistic of the Bard’s plays, As You Like It, directed by Damien Ryan and with Emma Wright in the to-die-for-role of Rosalind, who is blessed with one of the quickest wits in all Shakespeare. Credit:Prudence UptonĪs You Like It Finally, Sport for Jove, the company that consistently presents Sydney’s finest Shakespeare productions, emerges from its deep, two-year pandemic hibernation. Jacek Koman and Josh McConville in rehearsal for Death of a Salesman at Sydney Theatre Company. Take the tissues, or your mask will get soggy. Ratcheting up the star power come Philip Quast, Bruce Spence and, making her STC debut, Brigid Zengeni. Paige Rattray’s new production for Sydney Theatre Company also stars Helen Thompson as the almost angelically patient Linda Loman, while Josh McConville and Callan Coley play their difficult sons, Biff and Happy. This time it’s Jacek Koman playing Willy Loman, the ageing travelling salesman of Arthur Miller’s great play who believes he’s so close to actually grasping the American Dream he can taste it. THE CRITIC – John Shandĭeath of a Salesman When Death of a Salesman is done well, it peels the paint off the walls and leaves you emotionally shattered. To help you decide what shows to add to your list, we’ve asked theatre critic John Shand, playwright Michelle Law, musicals fanboy Mark Humphries and S editor Louise Rugendyke to pick out a few favourites. Theatre’s back, baby! After two years of postponed, cancelled, and delayed productions, Sydney’s theatre scene has returned with a cracking line up of shows to see out 2021 and celebrate 2022. Normal text size Larger text size Very large text size
0 kommentar(er)
