2000

Sweet Road
by Debra Oswald

State Theatre South Australia
and Playbox
Space, September 2000

Reviewed by Murray Bramwell

Life, as everyone from your aromatherapist to your personal trainer will tell you, is a journey. We are all out there, pounding away on the four lane black top. That is, when we are not cruising the information superhighway or moping about the road not taken. In popular culture the open vista has beckoned everyone from Jack Kerouac to Toad of …

2000

Equus

by Peter Shaffer

State Theatre South Australia

Optima Playhouse

Reviewed by Murray Bramwell

Peter Shaffer wrote Equus several years after a friend told him about a crime committed by a young man. The friend  knew none of the particulars, only that a stable had been invaded and horses had been mutilated. Shaffer’s informant  died some months after and the playwright was unable to find out anything further. The image stayed in his mind, though, and he wrote an …

2000

How I Learned to Drive

by Paula Vogel

State Theatre South Australia

Space

Secret Bridemaids’ Business

by Elizabeth Coleman

Playbox with State Theatre

Optima Playhouse

Reviewed by Murray Bramwell

In How I learned to Drive, American  playwright  Paula Vogel uses humour as a vehicle, you might say. And with it she takes us down some pretty dodgy back roads. If anyone were to tell you that this is a play about the intimate relationship between a seventeen year old …

2000

How I Learned to Drive

by Paula Vogel

State Theatre South Australia

Space

Secret Bridemaids’ Business

by Elizabeth Coleman

Playbox with State Theatre

Optima Playhouse

Reviewed by Murray Bramwell

In How I learned to Drive, American  playwright  Paula Vogel uses humour as a vehicle, you might say. And with it she takes us down some pretty dodgy back roads. If anyone were to tell you that this is a play about the intimate relationship between a seventeen year old …

Blithe Spirit
by Noel Coward
State Theatre South Australia
Optima Playhouse

Reviewed by Murray Bramwell

It is a strange shift from the contemporary theatrical idiom of Festival
productions like Iets op Bach, Ur/faust and Cortese’s Roulette to the stagey drawing room manners of Blithe Spirit. This is not to say that Noel Coward’s other-worldly comedy, written in six days in May, 1941 and performed in London nearly two thousand times from 1941 to 1946 is not worth the revival. But …