2014: The Year That Was in Sydney Theatre

Looking back over 2014, it was a solid rather than a spectacular year in Sydney theatre. There were some impressive productions and performances but overall not a huge amount that will linger forever in my mind as unforgettable.

Verity Hunt-Ballard as Charity. Photo: supplied

Verity Hunt-Ballard in Sweet Charity for the Hayes Theatre Co. Photo: supplied

By far the most exciting thing was the advent of the Hayes Theatre Co. A group of producers under the banner of Independent Music Theatre (IMT) took over the 115-seat theatre in Potts Point, previously the home of the Darlinghurst Theatre Company, and turned it into a venue for independent musical theatre and cabaret. Named after musical theatre legend Nancye Hayes, the Hayes Theatre Co opened with a bang in February with superb productions of Sweet Charity followed by The Drowsy Chaperone: two of my highlights for 2014.

For the rest of the year, the venue constantly generated excitement even if some of the productions were less successful than others. But it was great to see them producing two new musicals as well as a terrific cabaret festival, which confirmed how many exciting young cabaret performers are emerging in Australia and how rich and varied the genre now is, with other artists performing at the theatre during the year as part of its Month of Sundays cabaret program.

Elsewhere in Sydney theatre, it was good to see female directors and playwrights really making their mark and – as others have noted – queer theatre and indigenous stories gaining a higher profile in the mainstream. The number of powerful new Australian plays was also notable.

I saw 182 productions. These are my highlights for the year.

MUSICAL THEATRE

Sweet Charity

As I say, the Hayes Theatre Co gets my vote for the most exciting venue and initiative of the year. It could hardly have found a better way to begin. Sweet Charity sold out within three days (fortunately I had already bought tickets into the run so saw it twice). Director Dean Bryant and his creative team brought a dirtier, grittier edge to the musical and staged it ingeniously in the tiny space. Verity Hunt-Ballard was gorgeous in the title role, heading a strong cast that also included Martin Crewes as Charlie, Vittorio and Oscar, and Debora Krizak as Nickie and Ursula. The production tours next year. It will be interesting to see how Bryant expands it for the larger venues.

The Drowsy Chaperone

Sweet Charity set the benchmark high but The Drowsy Chaperone matched it. Staged at the Hayes by Squabbalogic (which began the year as part of IMT but parted ways, presenting the rest of its productions at the Seymour Centre’s Reginald Theatre), Jay James-Moody directed a deliciously inventive production of the delightful, tongue-in-cheek, meta-theatrical show. James-Moody also played the Man in Chair and gave a very funny but sweetly poignant performance. The entire ensemble cast was spot-on and the feel-good show sold out like Sweet Charity before it, leaving many lamenting they were unable to see it. One to revive in 2015 perchance?

Miracle City

Josie Lane, Marika Aubrey and Esther Hannaford. Photo: Kurt Sneddon

Josie Lane, Marika Aubrey and Esther Hannaford in Miracle City. Photo: Kurt Sneddon

The Hayes also staged a long-awaited revival of Max Lambert and Nick Enright’s legendary Australian musical Miracle City, not seen in Sydney since Sydney Theatre Company gave it a development production in 1996. With Lambert as musical director, the show about a US televangelist family raised the roof with its gospel-country songs and struck a strong chord with its dark story. Blazey Best was sensational as the unravelling Lora-Lee Truswell and Esther Hannaford broke your heart with her exquisite rendition of the show’s best-known song I’ll Hold On.

Truth, Beauty and a Picture of You, Beyond Desire

All power to the Hayes for staging two new musicals, even though neither were an unqualified success. Both were strong musically but need further work on the book. But there were some wonderful performances in both shows, notably Ian Stenlake and Scott Irwin in Truth, Beauty and Picture of You (featuring the music of Tim Freedman and a book by Alex Broun) and Nancye HayesChristy Sullivan and Blake Bowden in Beyond Desire (by Neil Rutherford).

OTHER MUSICAL THEATRE

Ruthless! The Musical

Elsewhere in independent musical theatre, a new indie company called The Theatre Division staged Marvin Laird and Joel Paley’s 1992 off-Broadway show Ruthless! at the Reginald Theatre. A send-up of showbiz and the pursuit of fame, it’s a very lightweight little piece but lots of fun. The production was stylishly designed and well performed by a strong female cast led by the ever-reliable Katrina Retallick, with Geraldine Turner as an acid-tongued theatre critic.

Strictly Ballroom

Thomas Lacey and Phoebe Panaretos. Photo: Jeff Busby

Thomas Lacey and Phoebe Panaretos in Strictly Ballroom. Photo: Jeff Busby

 As in 2013, commercial musical theatre was decidedly patchy in 2014. Baz Luhrmann’s hotly anticipated musical based on his film Strictly Ballroom had its moments but didn’t fully fire. The score was a bit of a mish-mash, some of the choreography felt flat when it needed to soar, and the production was often over busy. Catherine Martin’s costumes were sensational though.

Phoebe Panaretos made an impressive debut as Fran, with standout performances from Robert Grubb as the conniving Barry Fife and Heather Mitchell as Scott’s pushy mother. Luhrmann has already improved the show since opening and is reworking it further for its Melbourne opening. I will be fascinated to see it again there.

The King and I

Lisa McCune shone even brighter than Roger Kirk’s glorious costumes, giving a radiant performance as Anna in the Opera Australia/John Frost revival of Frost’s 1991 production. There was some controversy about the handling of the racial elements in the musical, particularly the casting of the non-Asian Teddy Tahu Rhodes as the King. Politics aside, the production was beautifully staged and I found Tahu-Rhodes moving as the King. The Asian characters were also sympathetically performed within the context of a 1950s musical.

Besides that, Sydney saw the return of Wicked, with Jemma Rix in fine form as Elphaba and Reg Livermore bringing a winning showmanship and humanity to the role of the Wizard, as well as a rather ordinary production of Dirty Dancing that has nonetheless been delighting audiences, with Kirby Burgess stealing the show as Baby – her first leading role.

Les Miserables

The barricades in Les Mis. Photo: Matt Murphy

The barricades in Les Miserables. Photo: Matt Murphy

The hugely popular musical is back to storm the barricades afresh in a 25th anniversary production featuring new staging and new orchestrations – and stunning it is too. Beginning its tour in Melbourne, there are superb performances from Simon Gleeson as Valjean and Hayden Tee as Javert, who head a generally excellent cast. I thought I’d miss the revolving stage. I doubted I’d be as moved as in the past but I was bowled over and emotionally undone. Can’t wait to see it again in Sydney in 2015.

Once

Staged in Melbourne, with no plans to tour apparently, Once is a bittersweet, wistful little musical, based on the film. The lo-tech staging is so clever and so right for the show, the music is infectious, and the performances lovely. Totally charming.

THEATRE

Henry V, Bell Shakespeare

Can Damien Ryan do no wrong? His idea of staging Henry V (for Bell Shakespeare) as if performed by a group of school students taking refuge in a shelter during the 1940 London Blitz proved inspired. Performed by a marvellous ensemble, Ryan brought his customary clarity to the dense play and left us in no doubt as to the ugliness of war.

Ryan also directed riveting, intelligent, moving productions of All’s Well That Ends Well and The Crucible for his own company Sport for Jove – arguably the most exciting indie theatre company in Sydney.

Tartuffe, Bell Shakespeare

Another terrific Bell Shakespeare production directed by Peter Evans. Featuring a hilariously funny contemporary adaptation by Justin Fleming, the rollicking production was a complete hoot with Kate Mulvany a knockout as the sassy, cheeky maid Dorine.

Pete the Sheep, Monkey Baa Theatre Company

Nat Jobe (as Pete), Todd Keys and Andrew James. Photo: Heidrun Lohr

Nat Jobe (as Pete), Todd Keys and Andrew James. Photo: Heidrun Lohr

A gorgeous show for children, adapted for the stage by Eva di Cesare, Tim McGarry and Sandra Eldridge from the picture book by Jackie French and Bruce Whatley about a sheep shearer who has a sheep called Pete rather than a sheepdog. Directed by Jonathan Biggins, with songs by Phil Scott, the production tickled adults as much as children, with everyone laughing uproariously while still being touched by the message about difference and acceptance. A real beaut.

A Christmas Carol, Belvoir

Another delightful adaptation, directed by Anne-Louise Sarks, that while not shying away from the darker corners of Dickens’ novella, filled the stage with joyousness and snow. The entire cast were perfect but Miranda Tapsell’s smile as Tiny Tim and Kate Box’s playfulness as the Ghost of Christmas Present, sparkling in a glorious costume made from gold tinsel (by Mel Page), would have melted the hardest hearts.

The Glass Menagerie, Belvoir

After several disappointing adaptations of classics, Belvoir made up for it with Eamon Flack’s production of Tennessee Williams’ semi-autobiographical play. Flack’s use of two large screens on either side of the stage showing black and white footage emphasised that what we are seeing are Tom’s memories and gave the production a dream-like quality and sense of the past. Luke Mullins was marvellous as Tom and Pamela Rabe was a tough Amanda. My only reservation – there were sightline issues for anyone sitting on the side.

Eight Gigabytes of Hardcore Pornography, Griffin Theatre Company and Perth Theatre Company

A new Australian play by Declan Greene, set in the Internet era, that is emotionally hardcore rather than pornographic. Written with a spiky economy, it features two desperately lonely, middle-aged people full of self-loathing. Steve Rodgers and Andrea Gibbs bared themselves emotionally in extraordinary performances. Directed by Lee Lewis, the production was insightful and painfully sad.

Switzerland, Sydney Theatre Company

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

A thrilling new play inspired by the life and writing of Patricia Highsmith in which playwright Joanna Murray-Smith weaves a psychological thriller set in Switzerland at the end of Highsmith’s life. Adroitly directed by Sarah Goodes, Sarah Peirse fully inhabited the role of Highsmith in a magnificent performance, with Eamon Farren also compelling as an emissary from her publisher sent to cajole her into writing another Tom Ripley novel, subtly and convincingly conveying his character’s gradual evolution. Brilliantly constructed, witty and gripping, the play will soon be seen at the Geffen Playhouse in Los Angeles.

Cyrano de Bergerac, Sydney Theatre Company

It was interesting to see Cyrano de Bergerac again, having been bowled over by Sport for Jove’s production at the end of last year. The STC production, featuring an adaptation by Andrew Upton, is very different, retaining the original 17th century setting. Truth be told I preferred Sport for Jove’s production but Richard Roxburgh gave a sublime performance as Cyrano, underpinned at every turn by a deep, dark, painful melancholy. Yalin Ozucelik (who was also wonderful as a more exuberant Cyrano for Sport for Jove) was the perfect foil to Roxburgh, giving a beautifully measured performance as Cyrano’s loyal friend Le Bret. Eryn Jean Norvill was lovely as Roxane.

Children of the Sun, Sydney Theatre Company

Andrew Upton’s adaptation of Maxim Gorky’s play was given an elegant, eloquent production by director Kip Williams. Set in the 1860s, with revolution in the air, it concerns an upper middle class Russian family whose lives are about to change forever. Featuring a fine cast, including Jacqueline McKenzie as the only one who senses what is coming, it was deeply moving.

Clybourne Park, Ensemble Theatre

Tanya Goldberg directed the highly anticipated production of Bruce Norris’s award-winning play for the Ensemble and did a fine job. The first act is set in 1959 in a predominantly white suburb of Chicago, the second in 2009 when the suburb is now mainly home to Afro-Americans. An excellent ensemble had us wincing at some of the attitudes in the provocative, discomforting play. All the cast were terrific but Nathan Lovejoy was outstanding as the bigoted neighbour in Act I and a new, white home buyer in Act II.

A Doll’s House, Sport for Jove

Adam Cook’s beautifully paced, richly nuanced, period production kept you on the edge of your seat. A young woman behind me who didn’t know the play was hysterical with excitement at the end. Matilda Ridgway gave us a multi-faceted Nora in a production that added yet another feather to Sport for Jove’s already well-covered cap.

Howie the Rookie, Red Line Productions and SITCo

One of the best indie theatre productions of the year. Directed by Toby Schmitz at the Old Fitzroy Theatre, Andrew Henry and Sean Hawkins gave exceptional performances as two working class Dubliners telling a blood-and-guts yarn through Mark O’Rowe’s two intersecting monologues. Lisa Mimmocchi designed the perfect minimal space. A dark little gem.

Is This Thing On?, Belvoir Downstairs

A riotous new play by Australian writer/performer Zoe Coombs Marr about a lesbian stand-up comedienne at five stages of her life and career, swirling around the night when it all imploded. Kit Brookman directed on a set by Ralph Myers that captured the feel of a grotty pub. Susan Prior’s no-holds-barred, manic performance was at the heart of the show.

NEW AUSTRALIAN PLAYS

Steve Rodgers and Andrea Gibbs. Photo: Brett Boardman

Steve Rodgers and Andrea Gibbs in Eight Gigabytes of Hardcore Pornography. Photo: Brett Boardman

Besides Eight Gigabytes of Hardcore Pornography, Switzerland and Is This Thing On? there were many strong new Australian plays in 2014 including:

Black Diggers by Tom Wright about Indigenous soldiers who fought during World War I and their appalling treatment when they returned to Australia. Premiered by Queensland Theatre Company and Sydney Festival.

Jump for Jordan by Donna Abela for Griffin Theatre Company, about a young woman born in Australia to Jordanian parents struggling to negotiate the gap between their culture and expectations, and her world.

Krytonite by Sue Smith in which she traced Australia-China relations through a personal relationship between two people who meet at university. Ursula Mills gave a sensational performance as Chinese woman Lian for STC.

Sugarland by Rachael Coopes and Wayne Blair, commissioned by atyp and written after a series of workshops with young people in the Top End town of Katherine. A moving piece about troubled teenagers, both indigenous and non-indigenous, in remote communities, with touching performances by a cast including Hunter Page-Lochard, Dubs Yunupingu and Elena Foreman.

Brothers Wreck by Jada Alberts A heartfelt Indigenous story about a young man called Ruben (Hunter Page-Lochard) struggling to cope with his cousin’s suicide, and his family’s struggle to care for him and keep him safe. A dark but humane, optimistic play, premiered by Belvoir.

M.Rock by Lachlan Philpott about a grandmother (Valerie Bader) who heads to Europe to find her missing granddaughter and becomes a famous DJ, staged by STC and atyp.

The Long Way Home by Daniel Keene, commissioned by STC and the Australian Defence Force and written from first-hand accounts of returned servicemen and women, many suffering post-traumatic stress disorder. The play was performed by returned soldiers alongside four professional actors. A powerful production and a wonderfully enlightened ADF initiative.

Once in Royal David’s City by Michael Gow. A theatre director already searching for meaning spends Christmas with his dying mother. Gow explores numerous themes including political theatre, consumerism, mortality and love. Brendan Cowell gave a searing, raw performance, with Helen Morse as his frail mother in the Belvoir production.

Unholy Ghosts by Campion Decent, premiered by Griffin Theatre Company. Decent’s touching autobiographical play about a playwright torn between his divorced but still warring parents – a grouchy father and diva-like mother – both facing death.

A FEW OTHER HIGHLIGHTS

Handa Opera on Sydney Habour: Madama Butterfly, Opera Australia A stunning, grittily contemporary production directed by Alex Ollé (of La Fura dels Baus) with a heart-breaking performance by Hiromi Omura. And what a location.

Louder Than Words, Sydney Dance Company An exhilarating double bill of works by Rafael Bonachela and Greek choreographer Andonis Fondiakis. I particularly liked Bonachela’s exquisite Scattered Rhymes. And the dancing! Never has the company looked better.

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

Patyegarang, Bangarra Dance Theatre A luminous production, choreographed by Stephen Page, telling the fascinating “first contact” story of Lieutenant William Dawes and Patyegarang, a young woman of the Eora nation. Told through 13 almost dreamlike scenes and ravishingly staged (set by Jacob Nash, costumes by Jennifer Irwin, lighting by Nick Schlieper, music by David Page), it could have been a little bit more dramatic at times but it was just beautiful.

The Arrangement A collaboration between Australian Dance Artists (veteran dancers Susan Barling, Anca Frankenhaeuser, Patrick Harding-Irmer and Ross Philip), eminent sculptor Ken Unsworth, The Song Company and composer Jonathan Cooper, staged at Unsworth’s studio. A tumult of ever-suprising visual images combined with glorious music and fascinating movement that reverberated with a profound sense of humanity to create a unique and wondrous piece of work.

Skylight in London I was lucky enough to catch Stephen Daldry’s superb production of David Hare’s 1995 play in the West End on a brief visit to London. Featuring the kind of intelligent writing you long to encounter more often, it explores the political through the personal, with nothing cut-and-dried or black-and-white as your sympathies swing back and forth. Bill Nighy and Carey Mulligan were both wonderful.

Limbo, Strut & Fret and Underbelly Productions A dark, sexy, enthralling circus-cabaret show, staged in the Spiegeltent as part of the Sydney Festival that combined jaw-dropping acts with a coherent, netherworld-like aesthetic and a strong sense of drama. It was exhilarating and it sold out fast. If you missed out it’s back at the 2015 Sydney Festival so get booking. I’ll be going back to see it again.

And that’s it. Here’s to a chilled New Year and to many theatrical delights in 2015.

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Clybourne Park

Ensemble Theatre, March 19

Briallen Clarke, Cleave Williams, Paula Arundell and Nathan Lovejoy. Photo: Clare Hawley

Briallen Clarke, Cleave Williams, Paula Arundell and Nathan Lovejoy. Photo: Clare Hawley

There was such interest in Clybourne Park that the Ensemble Theatre production sold out before opening so two performances in Chatswood have been added.

Written by American actor-playwright Bruce Norris, the play arrives in Sydney trailing numerous awards including the 2011 Pulitzer Prize for Drama, the 2012 Tony Award for Best Play and the 2011 Olivier Award for Best New Play. Expectations were therefore high – and the Ensemble production more than meets them.

The pithy drama straddles 50 years in a Chicago suburb. It begins in 1959. A clearly unhappy couple – the angry, taciturn Russ (Richard Sydenham) and his over-cheery wife Bev (Wendy Strehlow) – is packing up their home with the help of their black maid Francine (Paula Arundell).

Their local preacher (Thomas Campbell) arrives, clearly hoping to have a meaningful conversation with Russ, followed not long after by a neighbour called Karl (Nathan Lovejoy) with his deaf, pregnant wife Betsy (Briallen Clarke).

Politely outraged that they have sold the property to a “coloured” family at a knock-down price (for reasons revealed later), Karl tries to convince them to change their mind, his appalling bigotry expressed in the nicest way possible.

When Francine’s husband Albert (Cleave Williams) arrives to pick her up, his attempt to help Russ becomes excruciatingly awkward.

The second act is set in 2009. A white couple (Lovejoy and Clarke) has bought the run-down house in the now predominantly Afro-American suburb and wants to rebuild. This time, there are objections from a young, black woman (Arundell) who wants the history of the area to be respected.

Clybourne Park is a provocative play with some truly cringe-making moments, including several rancid jokes. But it is also very funny and sad as it tackles racism, political correctness and real estate, while weaving in grief and post-traumatic stress disorder too.

You’re aware that the play’s neat structure – which has the cast playing two different sets of characters across the two time-frames, some of them related – is well-crafted if not contrived in its balanced halves and set-piece debates. However, it’s so cleverly done and the writing so good that it works.

Tanya Goldberg directs a terrific production on a set by Tobhiyah Stone Feller that manages to make the stage look much bigger than usual (a feat that Lauren Peters has pulled off with equal flair for The Drowsy Chaperone currently playing at the tiny Hayes Theatre Co). The way the house is transformed into a graffiti-covered state of disrepair during the interval is very cleverly done.

Goldberg has elicited uniformly strong, utterly truthful performances from her excellent cast who work together as a well-oiled ensemble.

Clybourne Park could easily be set in Sydney, where right now there are plans for public housing in prime, inner-city locations to be sold off by the NSW State Government, despite the long-standing history of the area.

It’s a thought-provoking play that has you squirming at times and underlines with discomforting power that attitudes haven’t changed anywhere near as much as we’d like to think.

Clybourne Park runs at the Ensemble Theatre until April 19 and then at The Concourse Chatswood on April 23 & 24. Bookings: 9929 0644

Empire: Terror on the High Seas

Bondi Pavilion, September 3

Anthony Gooley, Nathan Lovejoy, Billie Rose Prichard and Fayssal Bazzi. Photo: Zak Kaczmarek

Anthony Gooley, Nathan Lovejoy, Billie Rose Prichard and Fayssal Bazzi. Photo: Zak Kaczmarek

You have to applaud Toby Schmitz for the ambition behind his new play Empire: Terror on the High Seas. But it still has a way to go before that ambition is realised on stage.

Set in 1925 on board a cruise liner called the Empress of Australia, headed for New York, we meet a group of first class passengers: the dandyish Richard (Dick) Civil-Lowe Cavendish (Nathan Lovejoy) who managed to avoid service in World War I, a brash South African called Anthony Hertz-Hollingsworth (Anthony Gee) and his new wife Nicole (Ella Scott Lynch), a London flapper and party-girl with a taste for cocaine, and a gangster-like Chicago businessman called Jacob ‘Bang’ Reiby (Fayssal Bazzi) who works for emerging company IBM.

There’s also Mr Frey (Anthony Gooley), a bookish, Australian poet who fought in the war and has been seduced by Dadaism, who has been invited onto the upper decks as a guest, a bigoted priest (James Lugton), a cabaret singer (Billie Rose Prichard) and a plodding detective (Duncan Fellows), among others.

It’s not long before we discover there is a serial killer on board. The first victims are Bengali ship stewards but the murders quickly escalate, becoming ever more grisly, so that no one is safe.

In a story by Elissa Blake in the Sydney Morning Herald (http://www.smh.com.au/entertainment/theatre/sailing-into-the-darkness-20130829-2srew.html) Schmitz said that “the set-up is deliberately Agatha Christie” but that the ship is actually a metaphor for “a nation adrift” and a way to examine Australia’s post-colonial history.

In the theatre program Schmitz references the British Empire Exhibition of 1924 (also alluded to in the play), which showcased the various nations in the Empire, while director Leland Kean writes: “As a nation, Australians find it extremely hard to face the fact that in the name of bettering the world we live in, we did some terrible things. That our ancestors committed atrocities in the name of race is something we still struggle to comprehend, and admit. Likewise it is also extremely hard to imagine the world they lived in, as it was when these atrocities occurred. This play bravely attempts to take us to this horror.”

I must confess that had I not read the story and program notes I wouldn’t have realised that this was Schmitz’s aim. Though the characters talk and talk, voicing views about the Empire, race, class, war and history, the play doesn’t cohere dramatically.

I found myself straining to follow what was being said. A lot of it is smart and amusing, with Noel Coward-like witticisms, but there is just so much of it that it’s an uncomfortable experience as you struggle to pull it all together and shape it in your mind.

There is a somewhat Stoppardian feel about it. Schmitz is, of course, starring in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead for Sydney Theatre Company at the moment. But where Rosencrantz and Guildenstern is also dense and rewards close listening, Stoppard allows you to relax, follow what is being said and enjoy it. Empire has you straining so hard it’s exhausting. Gee’s aggressively loud turn as Hertz-Hollingsworth coupled with a frequently indecipherable South African accent doesn’t help.

There’s little tension along the whodunit lines; it’s obvious fairly early on who the killer is and the perpetrator is revealed in Act I – though the other characters remain in the dark. Why the killer is driven to murder so indiscriminately and voraciously isn’t entirely clear. Post-traumatic stress as a result of war? Or were they already a psychopath? As for the mix of styles, the play never convincingly moves beyond the nod to Coward and Christie to something genuinely horrific.

There has been publicity about the gothic horror being similar to something from the Saw films but don’t believe it. It’s hard to put fake intestines on stage and make it look believable. I’m incredibly squeamish but the gory scenes come across as comical in a gross-out way rather than stomach churning.

Staging a play this big – with a cast of 15 – is just as ambitious on the part of Rock Surfers Theatre Company. Kean runs a fairly tight ship in his staging.  James Browne’s handsome set with wooden crates, suitcases and a chintzy looking cabin is effective and his costumes are stylish.

The performances are generally good. Lovejoy is particularly impressive as the “pansexual” Cavendish, tossing off witticisms with just the right level of breezy, self-satisfied affectation, his comic timing immaculate as the words trip effortlessly off his tongue.

But in the end it just doesn’t come together. Running three hours including interval, Empire feels long and underdeveloped.

Schmitz is an exciting writer. His play Capture the Flag about the Hitler Youth movement is a little gem and his recent work I Want to Sleep With Tom Stoppard (also directed by Kean) is an entertaining, intelligent comedy.

Empire is commendably ambitious. All too rarely these days so we see work of this scale.  But the play needs further work for the themes and big ideas in it to emerge more strongly.

Empire plays at the Bondi Pavilion until September 28