This charming, clever and very entertaining adaptation of Rudyard Kipling’s beloved fables from The Jungle Book is an absolute must for the school holidays. Fast-paced, it holds its young audience’s attention from start to finish, the songs are clever and catchy and a superb cast provides some very funny stage action as well as meaningful moments.
In late March an ensemble comprising experienced actors alongside tenants of the Waterloo housing community staged an original play entitled Turning Towers.
A sell-out season of the Pultizer Prize-winning musical South Pacific was staged by Newtown High School of the Performing Arts in late March.
Is an unexamined life worth living? Clearly, Edith Campbell Berry (a vivacious Sonia Todd), the central character of Alana Valentine’s adaption of Frank Moorhouse’s novel, Cold Light, does not think so. Her summation of her own 70 years of existence is that she gave everything to participate but briefly in the making of the historical moment but she “bungled her inner life”.
The frequently performed Under Milk Wood described by its author as “a play for voices” was originally intended to be a radio play. It is, perhaps, better heard than seen but its enchanting mix of poetry, poignancy and sly comedy makes it an attractive choice for small theatres. Overall, Ylaria’s Rogers’s production is well balanced allowing the sly jokes and sexual innuendo to have their place but at the same time keeping a sense of the strange wonder at the universal ironies of human existence.
Initially O’Keeffe, effectively interacting with back projection, introduces us to her family, siblings, parents and legendary Nan through a funny and affectionate home video made at her younger…
The Mystery of Love and Sex is one of three plays by Bathsheba Doran referred to collectively as ‘The Marriage Plays’ exploring the ways in which socio-economic and cultural factors play into love and friendship. It is indeed a mystery that, given the complexities of our own nature and the complications of navigating cultural assumptions, we manage to have relatively enduring relationships at all.
At the close of Kate O’Keeffe’s Losing You (Twice) the audience seemed almost unable to encompass the terrible irony of the O’Keeffe family’s story. Horror at the relentless way in which events are resolved and pity for the suffering of the individuals involved give this story about an ordinary family from Geelong a classically tragic dimension.
Sixteen-year-old Indigenous Jasper Jones (Guy Simon) is a scapegoat for the town of Corrigan whose parental population are content to blame him for all their children’s wrongdoings.
In turns desperately sand, side-spittingly funny or warmly compassionate.