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MIRACLE CITY

MIRACLE CITY

By Diana Simmonds

MIRACLE CITY, Luckiest Productions in association with Hayes Theatre Co at the Hayes Theatre, 17 October-16 November 2014. Photography by Kurt Sneddon: Esther Hannaford, Josie Lane, Blazey Best and Marika Aubrey; right: the family.

 

First seen in a brief, mythic staging at STC in 1996, the anti-musical brain child of Nick Enright and Max Lambert is now full on and fabulous at the Hayes with Blazey Best as tele-evangelist Lora Lee Truswell, adoring wife of Ricky, a charismatic preacher who, like his wife, specialises in dazzling teeth and sincerity.

 

Played pitch perfect by Mike McLeish, Ricky is a smooth exhortation this side of smarmy. Just like the real Jim Bakker before him, his true ambitions and the price he is prepared to pay to realise them form the backbone of the show.

 

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HENRY V

HENRY V

By Diana Simmonds

HENRY V, Bell Shakespeare Company at the Playhouse Theatre, Sydney Opera House; 23 October-14 November 2014. Photography by Michele Mossop: above - the company; right: Michael Sheasby.

 

Some readers will know of my preoccupation with the imperative of having an apparently great idea immediately followed by someone asking “okay, and then what?” All successful creative endeavours are the result of satisfactorily answering that question. All failed creative endeavours are the result of (a) not asking the question or, (b) ignoring the answer, which was “um…not sure, haven’t worked it out yet” and carrying on regardless. 

 

The STC’s recent Macbeth was an excruciating example of the likely outcome of (b). On the other hand, this Henry V is the best possible evidence of the question being asked and answered and worked out before anyone went anywhere near a rehearsal room.

 

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LUKE LLOYD ALIENOID

LUKE LLOYD ALIENOID

By FELICITY DAYHEW

LUKE LLOYD ALIENOID, ATYP, 15-25 October 2014. Photography by Amy Maiden.

 

Wouldn’t it be cool to have an alien for a dad? Well Luke Lloyd does – or does he? This is a funny heart warming play that will make you laugh and also be a little bit sad.

 

It is set in what could be any school in Australia, and it tells the story of Luke Oscar Lloyd who is a young boy who never knew his dad. Luke is not like most of the boys in his school, he likes facts, is not very good at sports and would rather spend time on a computer.

 

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THE WHARF REVUE - OPEN FOR BUSINESS

THE WHARF REVUE - OPEN FOR BUSINESS

By Diana Simmonds

THE WHARF REVUE - OPEN FOR BUSINESS, Wharf 1, Sydney Theatre Company to 1 December 2014. Photography by Brett Boardman: Doug Hansell, Phil Scott, front centre Amanda Bishop, Jonathan Biggins; right: Doug Hansell.

 

At a time when political reality is more extreme and hilariously awful than the imagination or aspirations of most satirists, this year’s Wharf Revue has been firmly in the “much anticipated” basket since it began its regional tour. Now, finally at home in Wharf 1, it’s “open for business” and the goods are on display. And what goods they are!

 

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THE 26 STOREY TREEHOUSE

THE 26 STOREY TREEHOUSE

By FELICITY DAYHEW

THE 26 STOREY TREEHOUSE, Sydney Opera House 3-25 January 2015 and touring visit cdp.com.au/26storeytreehouse.html for the latest information. Photography by Branco Gaica: Matthew Lilley, James Lee Andrew, Andrew Johnson and Eliza Logan; 

 

Sharks, undies and pirates! You get all this if you venture into the world of The 26 Storey Treehouse. Laugh your heart out and watch as Andy and Terry invite you up to their very different home.

 

The set is amazing, using only a metal frame, a couple of props and a projection screen. The scenes go from underwater to the top of a building, yet the set still looks like both when needed.

 

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EMERALD CITY

EMERALD CITY

By Diana Simmonds

EMERALD CITY, Griffin Theatre Company at the SBW Stables Theatre, 24 October-6 December; Riverside Parramatta 10-13 December 2014. Photography by Brett Boardman: Mitchell Butel, Kelly Paterniti, Lucy Bell and Ben Winspear; right: Lucy Bell.

 

In David Williamson’s Emerald City, Griffin artistic director Lee Lewis has chosen a different kind of “classic” for this slot in the calendar. After the dramas of previous years, notably Gordon Graham’s The Boys (2011) and John Romeril’s The Floating World in 2013, she consolidates the idea with a socio-satirical comedy that gives the audience the chance to revisit or experience for the first time a play that should be recognised as part of the bedrock of contemporary Australian theatre. Yet…

 

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