While An Act of God has its origin in David Javenbaum’s popular Twitter@TheTweetofGod, maybe its inspiration came from the quaintly named ‘peril terminology’. An ‘act of God’, according to insurance law, is one without human agency and hence could not have been prevented ‘by reasonable foresight or care’. It follows then that the divine must be incapable of either, and for an entertaining seventy-five minutes, God, who conveniently assumes the dynamic form of actor Mitchell Butel, shares with us the full extent of his egocentricity.
I Walk in Your Words is an astounding piece of small theatre.
On the Border of Things advertises itself as “a bilingual performance exploring the movement of people, agriculture and the environment”, and it is all of these. However, it is, above all, a tender love story and an intimate exploration of art making.
Paul Gilchrist’s Blind Tasting is a much-performed play from the repertoire of subtlenuance, and deservedly so, as it is funny, sharp at times, sad at others and consistently entertaining. Add to this, the charm, vitality and grace brought to this one-woman performance by Sylvia Keays, and the result is a thoroughly enjoyable evening.
A profound and wonderful experience, Barbara and the Camp Dogs, takes the audience on a journey from Sydney to Katherine, from anger to potential resolution, all the while sustaining the illusion they are attending a gig in a local hotel.
The brilliant Bangarra’s second Carriagework season, Ones Country: The Spine of Our Stories, presents three new works and introduces three debut choreographers. Each dance tells a story of the choreographers’ heritage, encompassing North East Arnhem Land, the urban wilderness and Torres Strait Islands.
You need not be familiar with the conventions of Agatha Christie-style murder mysteries to enjoy Bloody Murder but if you are, this excellent production is exceptionally funny.
As You Like It may be taken as you like it. A month ago it was possible to see this popular Shakespearean play in Melbourne performed by an all-male cast and currently it is being performed in Sydney as the debut production of the all-female She Shakespeare Company.
Jennifer Haley’s The Nether won the Blackburn Prize in 2012 and stirred debate among critics. Some found it “disturbingly sensationalist”, some found it “intensely provocative”, and some “squirm-inducing”.
Our Future Waterloo was the happy result of a collaboration between Milk Crate Theatre, Sydney Story Factory and the “always awesome Class Six students of Mt Carmel”. From the students’ moving acknowledgement of Gadigal land to their closing affirmation of team work and community, Class Six impressed by their sincerity and commitment.