Jade Kops - Page 30

The Lovely Bones bare the aftermath of a family tragedy.

Jonathan Biggins, Drew Forsythe and Phillip Scott have created a new edition of fan favorite political satire, THE WHARF REVUE: CAN OF WORMS.

Kip Williams’ (Director) new imagining of William Shakespeare’s tale of Ancient Roman power plays reinforces that politics hasn’t really changed as the 21st century is layered over the classic tragedy of JULIUS CAESAR.

Aarne Neeme's new staging of Alex Buzo's NORM AND AHMED reinforces society really hasn't progressed much in removing racial prejudice from society.

Kendall Feaver’s WHEREVER SHE WANDERS is a new thought-provoking work that contemplates the progress, or lack thereof, of society’s attitude to sexual assault in higher education environments.

COME FROM AWAY is a story that everyone should see so it is wonderful that the Australian production has had the resilience to withstand the challenges of two COVID-19 induced shutdowns, first during its Melbourne season and most recently during Sydney’s 4-month lockdown.

The challenge of staying friends as people grow and ambitions evolve is analyzed with mid century modern clarity in Dean Bryant’s production of Stephen Sondheim (Music and lyrics) and George Furth’s (Book) MERRILY WE ROLL ALONG. 

Presented just days after Melbourne’s latest lockdown lifted, Queenie van de Zandt’s CHOOSE YOUR OWN ADVENTURE – ONLINE EDITION was the perfect night in for people wanting to reconnect with live performance but still a little hesitant to venture outside. 

Bess Wohl’s domestic comedy GRAND HORIZONS seeks to show the need to see our family members as more than the domestic relationship but rather real complete people. 

COME FROM AWAY, the warm welcoming hug of hope and the best of humanity has finally arrived in Sydney to the delight of audiences that have been waiting for this incredible piece of theatre based in truth to arrive after a pandemic induced delay. 

ONCE, A love story you must experience.

Highlighting the precariousness of entitlement and shifting social status Eamon Flack’s (Director) adaptation of THE CHERRY ORCHARD proves that Anton Chekhov’s work retains a relevance in the 21st century as the mighty families can fall and those that once served may end up in charge. 

THE LINDEN SOLUTION shines a shocking spotlight on the dangers of complacency as extreme right-wing ideals bubble dangerously beneath the surface of society and history threatens to repeat itself.

The visually captivating Parisian production of THE LITTLE PRINCE blends contemporary dance with circus elements and modern technology to bring the 76 year old work to a new generation. 

I WANT TO KNOW WHAT LOVE IS shares the personal stories gathered from over 800 anonymous submissions in a powerful piece of verbatim theatre.

The ugly truth behind the faux ‘modern woke man’ is laid bare as ULSTER AMERICAN strips back the veneer with hilarious and horrific consequences.

Returning for and Encore season, Carissa Licciardello and Tom Wright’s adaptation of A ROOM OF ONE’S OWN reinforces how much gender inequality and its effect on opportunities for women remain almost a century after Virginia Woolf addressed the Newnham Arts Society at Newnham College and the ODTTA Society of Girton College in 1928.

Director Kate Champion presents a crisp expression of HONOUR, Joanna Murray-Smith’s study of the breakdown of a relationship based on the seductive nature of a power and influence imbalance. 

Captivating, heartwarming and heartbreaking, Jeanine Tesori (Music) and Lisa Kron’s (Book and Lyrics) adaptation of Alison Bechdel’s graphic memoir FUN HOME has finally opened in Sydney after a pandemic induced delay

Wendy Beckett’s (Writer and director) CLAUDEL exposes the challenges Camille Claudel faced when choosing to pursue a life as female artist in 19th Century Paris.