went to see Steel Magnolias at the Athenaeum last week. The set was just the hair salon, and the cast was just the six main women, all played very similar to the movie (which was based on the play!). Of particular note was Lisa McCune as M’Lynn, the Sally Field character. Really enjoyed it; even though we didn’t see everything that was in the movie, enough detail was retained to know what had happened. There were laugh out loud moments and other times when it got a bit dusty. Totally recommend seeing this! it’s on til August 16th
went to see “Six” again on the weekend. So much fun!! the lyrics are so clever, energy is amazing, and yeah, very enjoyable experience!
for those that don’t know it, it’s about the six wives of Henry VIII having a competition to see who had the worst experience!
there were a number of younger audience members, but I assume (hope?!) that some of the more adult references were not understood… let’s just say there was some play on the word “head” that was not in reference to the noggin being removed from the torso 
Who won/lost? You could argue they all lost, hitching themselves to the fat, stinky bastard.
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in the end they decide that they don’t want to just be defined as having been one of the exes, and they rewrite things so that they all ended up with happy lives!
so many of the lines totally crack me up…
Tried to elope
But the Pope said “nope”
Our only hope was Henry
He got a promotion
Caused a commotion
Set in motion the C of E
The rules
Were so outdated
Us two wanted to get X-rated
Soon
Excommunicated
Everybody chill, it’s totes God’s will!
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Went to Sydney and watched The Drovers Wife at the Opera House.
This thing is - and will continue to - attract some attention for it’s blunt and sometimes brutal recounting of aspects of Australia’s history. For those who don’t know, this is Leah Purcell’s very different version of Henry Lawsons short story. So different , in fact , that one wonders whether it’s title should be shared. I’ll say only this - if your position is that bare knuckle swearing , brazenly and deliberately racist dialogue and confronting sexual violence has no place in opera , then this is probably not for you.
Artistically -
The first half is a bit ponderous , setting the scene but never really developing serious momentum. The change of pace after intermission is stark - the arrival of the pedler an immediate shifting of gears - and it rapidly becomes the twisting , contentious vehicle that is garnering attention for it’s themes.
I didn’t love it musically. Nothing here is likely to become a recognisable theme. But equally, it all hung together nicely with the on stage content.
The two leads are great.
The rhythm of the spoken / sung ratio could be a little clunky.
One character in particular was a bit too pantomime in portrayal at times , it sat uncomfortably against the rest of what is a pretty dark tale rather than lightened it.
There are a few plot holes / annoyances.
The working in of indigenous dancers and themes was very good. Certainly no sense of condescending or paternalistic
The set - especially the incredible snow gum - was beautiful and perfectly lighted to create depth and contrast.
There’s a lot going on here and I think the reaction that people have will be decided by a myriad of conflicting inputs and factors, and how you rate them. For me, I didn’t get a sense of closing satisfaction from what requires an acceptance of metaphysical justice and an allegory in a pair of boots. But then, I’m not sure you’re supposed too. This thing wants to punch you in the face. A feeling that was reinforced when I was lucky enough to meet Purcell afterwards, and she made a comment that “we’ll keep refining it, and keep telling people that truth”. This is her story to tell, and whatever the format she will not sway from that.
Love it or hate it, it makes a mark in an industry that too often turns to old favourites and comfortable norms.
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