What Are We Left With? — A review of SUDS’ The Goat, or Who is Sylvia?
SUDS’ Slot 1 performance of Edward Albee’s The Goat, or Who is Sylvia? was an hour-and-forty-minute absurdist romp that left the audience in both stitches and a state of moral panic. The play, brilliantly directed by Felix Tonkin and produced by Ruby Scott-Wishart, documents the aftermath of a father’s bewildering extramarital affair, and serves as a hilarious allegory of liberal society. It is this element that SUDS’ production claws at so well, unravelling the philosophical thread that weaves its way through the narrative.
SUDS Slot 4, 2024: Deathwatch, a review
Whilst these adaptations are perfectly fine, there’s an anachronism that can accompany any production put to stage from another era. There’s merit in rote for rote recreations, but I will always prefer a distortion of a classic akin to what Zoe Le Marinel, Jasmine Jenkins, and their team have put to the stage with SUDS Slot 4’s Deathwatch (1947) by Jean Genet.

'Troy's House' (2023) SUDS: Review
The liminal area between teendom and adulthood, between Sydney and Melbourne, between friends and enemies, between ad breaks. Everything that happens within is transitional and temporary: “all we do [at Troy’s house] is recount the last event and talk about the next one.”

You couldn’t look back if you tried: SUDS 'Eurydice' Review
A sensory aigís, expect an odyssey of emotion, talent and stagecraft.

Friendship, nostalgia, and isolation: SUDS 'Play On' Review
Play On, written and directed by Gemma Hudson, is an ambitious and exciting cross of And Then There Were None with Heathers.

REVIEW: SUDS’ Double O’Bill: The Real Inspector Hound and The Bald Soprano - A murder mystery and a middle-class satire walk into a Cellar
Brilliantly adapted by directors Kieran Casey and Charlie Papps, the production offers a night of gut-wrenching laughter and meta-theatrical analysis in their double (O’) bill of two modern absurdist classics

Review: SUDS' Arcadia makes the pendulum swing
Binary opposites become whole in SUDS’ vibrant reimagining of the play, and though its discussions of thermodynamics, aesthetics, and sex may at first seem arbitrary, they have profound intention.

Review: SUDS' The Glass Menagerie - celebrating Australia's diaspora
Danial Yazdani’s adaptation of the American classic honours the complexities of Australian immigrant experiences.


Review: SUDS' Heat Lightning - Raising The Red Bandana
Crackling with the electricity of theatre, Heat Lightning captures characters grappling with economic hardship and emotional unrest.

Review: SUDS' StuJo! The Musical - There’s no Jo like StuJo
Fun, fantastical, and hot off the press, StuJo! The Musical serves up a loving tribute to all things campus journalism.

Review: SUDS' Off-Offstage — A Band 6 for Off-Offstage
Off-Offstage is structured as a variety show, featuring monologues, group performances, and songs performed by its motley cast of SUDS members who have (presumably) suffered through the epic highs and lows of HSC Drama themselves.

Amadeus dreams and Bathurst St realities: the alchemy behind Everynight
Mr. Squiggle’s SUDS ascendancy

Review: SUDS Major Everynight — An all-inclusive package holiday to your best nightmares
Imaginative theatre has a new set of puppet masters

Review: SUDS' The Popular Mechanicals — Anything but robotic!
There’s nothing more Popular than laughter.

Review: SUDS’ Machinal — Modern, disturbing, and absurdly funny
SUDS’ penultimate slot delivers biting social commentary and razor-sharp performances.

Review: SUDS' Alice in Bed — Tell me a story, bring me the world
Alice may have been in bed, but this show was up and at 'em.

Review: SUDS’ Amadeus — A Requiem for Success
The latest SUDS production hits the right notes.