Reviews Sam Harding Reviews Sam Harding

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. 

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SUDS Slot 4, 2024: Deathwatch, a review
Campus Nathan Phillis Campus Nathan Phillis

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.

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'Troy's House' (2023) SUDS: Review
Campus Miles Hiroshi Huỳnh Campus Miles Hiroshi Huỳnh

'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.”

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