Huw Griffiths

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A Production to Satisfy Sydney’s Darkest Imaginings: Sydney Theatre Company’s “Strange Case of Dr Jekyll and Mr Hyde”

Posted by Huw Griffiths | 13th Sep 2022 | Acting, Adaptation, Australia, Review

Review: Strange Case of Dr Jekyll and Mr Hyde, directed by Kip Williams for Sydney Theatre Company...

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The Picture of Dorian Grey review: Eryn Jean Norvill Stuns in all 26 Roles

Posted by Huw Griffiths | 24th Dec 2020 | Australia, LGBTQ Theatre, Review, Sydney

Review: Sydney Theatre Company’s The Picture of Dorian Gray, directed by Kip Williams Australian...

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A New Take On “An Enemy Of The People” Fizzes With Contemporary Relevance

Posted by Huw Griffiths | 5th Nov 2018 | Adaptation, Australia, Review, Sydney

The fitness of Henrik Ibsen’s plays to address the political questions of our modern lives renews...

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“Black Is The New White” Gives The Comedy Of Manners An Irreverent Makeover

Posted by Huw Griffiths | 14th May 2017 | Australia, Sydney

Black is the New White is Nakkiah Lui’s latest play, following last year’s well-received Kill the...

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“Seventeen” at Belvoir – A Brilliant Theatrical Event

Posted by Huw Griffiths | 22nd Aug 2016 | Australia, Review, Sydney, Theatre and Age

Our experience of plays is always profoundly affected by how they end: comedy or tragedy, death or...

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Review: “Disgraced” Turns West-Meets-Islam Divisions Into Striking Melodrama

Posted by Huw Griffiths | 2nd May 2016 | Australia, Review, Theatre and Politics

Ayad Akhtar’s Disgraced has arrived in Sydney from America on the back of international...

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Most Popular Posts

Imagine/: Artificial Intelligence Comes to Theatrical Design by Michael Schweikardt 17th September 2022
Bombastic Intimacies: Sophie McIntosh’s “cityscrape” by Rhiannon Ling 30th May 2023
The House Where Phantom Lived—Part I: The Majestic… by Lisa Monde 17th February 2023
Drag Queens in Musical Theatre by Lisa Monde 8th May 2023
Theater, A Major Job Sector by Heather Waters 2nd April 2023
“Al Capone the musical” à la Francaise by Lisa Monde 31st January 2023
“Geometry of the Soul”, “Frozen Songs” and “Clowns’… by Emilija Kvočka 31st May 2023
“The Arabian Nights” in Taiwan: Deserted… by Kuan-Ting Lin 12th May 2023
The Theatre We Want In 2040? We Used… by Christine Brubaker, Taiwo Afolabi, Yvette Nolan, Jessica Thornton, And Heather Russek 28th April 2023
The House Where Phantom Lived. Part II – Her… by Lisa Monde 31st March 2023

Recent Posts

“Geometry of the Soul”, “Frozen Songs” and “Clowns’ Houses” at Novi Sad Theatre Festival 31st May 2023
Bombastic Intimacies: Sophie McIntosh’s “cityscrape” 30th May 2023
Robert Patrick, Playwright, Has Passed Away 19th May 2023
“The Arabian Nights” in Taiwan: Deserted in the Oriental Dream 12th May 2023
Drag Queens in Musical Theatre 8th May 2023
“Drive Your Plow Over The Bones Of The Dead” at the Barbican Theatre 3rd May 2023
Vinnie Heaven’s “Faun” at Theatre 503: queer show is both joyful and thought-provoking 1st May 2023
“Young Barbarians”: Non-serious Seriousness and Hungarian Drive 1st May 2023
Sydney Theater Company’s “Julia” Powerfully Imagines the Life and Emotions of the Woman Behind the “Misogyny Speech” 29th April 2023
“Sea Creatures,” Hampstead Theatre 28th April 2023

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