Lara is interstate working as a dancer to support her two young boys back in Sydney when she receives a call that their father, who was supposed to watching them, hasn’t been home for two days. She has the weekend to fly home, take care of her boys, find her partner, and settle the situation before returning to Cairns by Monday. This one-woman production is about the battleground of family and addiction set in Sydney’s public housing.
In the centre of Town Hall’s iconic Victorian design, Belvoir and Co-Curious have erected an immense courtyard which will become a house, a prison, a playground, and a beach over nearly 50 years of four generations and two countries. Counting and Cracking is about family, culture, and a sense of self and the way these are torn apart or trodden down by politics, war, and fear.
This review comes from Night Writes guest reviewer Gabriella Florek.
Having seen just a short minute or so long trailer of Home, and leaving the inspection of the program notes until after the show, I had a few wild ideas of what I might experience from the opening night. But, nothing about Geoff Sobelle’s magic production was what I expected it to be.
May and Eddie are linked forever by their childhood love affair and the tragic fallout of their family pasts. Just when May thinks it all might finally be over, Eddie comes charging back into her life to remind her of their shared secrets and the knowledge she can’t escape.
There is something so alluring about the ancient world of Egypt. From the tombs to the curses and untranslated hieroglyphs, most kids go through an Egypt phase during their childhoods. Emilia Stubbs Grigoriou brings that fascination to the stage with her adaptation of Geoffrey McSkimming’s children’s book Cairo Jim. Jim is this close to uncovering the mystery of Martenarten and his hidden tomb but a rival archeologist just might stop him.
In Chris Hannan’s adaptation of the Fyodor Dostoyevsky novel, Russia is a bleak place full of desperation and hardship. The people struggle to find meaning in political debates and philosophical theories about humanity. Raskolnikov is a wayward law student who commits murder to unburden himself from shame but who is unable to justify his actions in his own paranoia.
A football club is collapsing under its own petty politics and incompetency. All the boys want the power and the glory but none of them have any idea about the work involved. David Williamson’s 1977 script is a precise representation of masculinity behind closed doors and the many pitfalls of the “every man for himself” mentality of hyper-masculine spaces. This reimagining from isthisyours? distills the drama to three female actors in an examination of the classic some 40 years later.