Life can be dull or repetitive and it makes you numb to your own desires. Then one day someone pops up and encourages you to walk on the other side of the street for a while and suddenly the world is new again. At least that’s the plot of some of the best romantic comedies out there, and Crossing Delancey is no different.
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If so much of the world doesn’t make sense for adults then one can only imagine how children square the unfairness and hypocrisy around them. For this one young boy, many things are confusing like witches and God and injustice but then some things like love and happiness and fun couldn’t be simpler.
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There’s nothing like a war to clarify the greater mysteries of life. When the very real stakes of life and death reveal what matters to you, and who you are underneath it all. For the three men of the Keller family, the war was a reckoning that none of them could have foretold.
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Times change, people grow older, and nothing lasts forever. Ray Lawler’s 1950s classic remains a mainstay of the Australian theatre repertoire for its dry-eyed portrayal of the end of the boom time. In this most recent reprisal, Barney, Roo, Olive, and Pearl serve as reminders of how thin the facade of endless growth is and the consequences of failing to see the reality underneath.
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Growing up mixed-race can be complicated and confusing for kids trying to figure out their identity. Add to that splitting your childhood between two countries, having an absent father, and trying to integrate into a racist Australian society and the early years for Eric and Mel were tough ones. With such an unstable foundation, what kind of lives can they make for themselves in adulthood?
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This review comes from Night Writes guest reviewer Gabriella Florek
Just as the title of Martin Crimp’s 1997 play can be interpreted in different ways by an innocent reader, the script itself is left open for the the artists involved in its staging. With little direction from the playwright as to how many actors should perform and who speaks the lines, making creative decisions becomes, arguably, an even more precarious task than usual.
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This review comes from Night Writes guest reviewer Anja Bless
Making its Sydney debut, Control by emerging playwright, Keziah Warner, is a sci-fi show ready to entertain and enthral. Flowing through three different but interconnected stories set sometime in our (not-too distant?) future, Control asks what happens if we don’t pull on the brake of technological development.
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Running alongside the Pacific Ocean, Bondi Beach is a potent symbol of Australia’s cultural relationship with water whether through pools at high school swimming carnivals, sprinklers during suburban summers, or the beloved Aussie beaches. Acqua Profunda: A Trilogy is an audio experience that investigates this relationship with water through three different stories of watery occurrences.
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The universe in incomprehensibly enormous and the energy flowing through it ancient and powerful. It operates through cycles and a continuously negotiated balance between light and darkness. In this reimagining of the legend of 后羿 (Hou Yi) and 嫦娥 (Chang’e) Little Eggs Collective finds joy and life in an early story of love, loyalty, and immortality.
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This review comes from Night Writes guest reviewer Josephine Lee
Merlynn Tong’s Golden Blood is a feverish, drug-induced, dream-like, fire-cracker adventure of two Singaporean Chinese orphaned siblings who are forced to become adults when their parents die before teaching them how.
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