Sydney Reviews
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- Nicholas Routley
As always in Pinchgut’s productions, the cast for Giustino is magnificent, both vocally and theatrically.
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- Emily Shaddick
With exceptional performances, beautiful costumes, clever sets and a finale that shook the foundations of the Theatre Royal, this musical is unmissable.
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- Richard Cotter
Are we enslaved by the machine or enriched by it? Are we caught in a technology trap that is increasing the gap? Do we tear down and rebuild or preserve the status quo?
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- Nicholas Routley
Blackheath is gorgeous in autumn, with the trees making the streets incandescent with every colour from green through yellow, orange, red to crimson. It is no accident that the festival is held at this season.
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- Richard Cotter
Three quarters of a century on, Tennessee Williams' A Streetcar Named Desire lives through the kindness of stagers.
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- Emily Shaddick
They are consummate professionals and still give us a show that wows and inspires. This is a great family show that everyone will enjoy.
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- Dennis Clements
The work is both very funny and at times confronting. People die in these woods. And they learn that getting what you wish for may not be worth the price you have to pay.
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- Nicholas Routley
Janet Swain's one-woman show Delphi Goes Bassooning is totally charming.
Most read Sydney reviews
There really isn’t a moment when we believe there is going to be a happy ending, but the incredible music keeps us sitting in the carriage as we careen perilously towards the inevitable train wreck of an ending.
Dog Man will have you giggling at the ridiculous antics of an unlikely hero.
Two new works presented as a double feature provide somewhat of a highlight in the current Sydney Fringe Festival.
The staging is spectacular, and this production has somehow managed to add additional layers of texture and style into the design that refreshes the experience.
City of Angels is a big bold sexy production with lots of style, lots of laughs, and an incredible collection of wonderful performers and musicians that deliver this complex score with real conviction.
The play within the play cascades into a convulsive and inexhaustible tirade of production catastrophes, miscues, prop malfunctions, wardrobe clangers, and more.
The opening night of Rinaldo showed unmistakeably that baroque opera, even so-called opera seria, can be fun.