By Alexandre Douglas

“Fraser and the cast, I think, realised this, and the play was all the better for it – one does not simply pass through three stages of grief – it is constant … It was just an ordinary night, but I couldn’t help feeling a little changed.”

By Patrick McKenzie

“All Things Must Pass is deeply enjoyable, and delivers some fresh takes and thoughtful ruminations on the nature of celebrity.”

By Shania O’Brien

“Oliver Durbidge’s (director) rendition of the play is a haunting ode to the fears people think they leave behind when they outgrow bedtime stories … The direction and acting peeled away each individual’s layers and lay them bare for the audience to see.”

By Emily Graetz

“Rice is a brilliant return to live theatre in 2021. It is witty, dramatic and makes an important move towards telling more diverse and meaningful stories of immigration.”

By Victoria Vu Tang

“Ultimately, Rice is a production about women, and their legacy … But it is also a labour of love, galvanised by a dedicated cast and crew of BIPOC women and their allies who should be celebrated as much as this story is.”

By Danny Cabubas

“Utilising a brilliant mix of humour and seriousness, the show dove deep into one of the best explorations of grief and the trauma that comes with it I’ve ever seen.”

By Alexandre Douglas

“To my surprise, I left the theatre feeling genuinely moved. Director Annie Fraser has taken a script, parts of which have not aged well, cut and modified it, and put on a production that, unlike the original, does not exult its protagonist but rather meditates on the consequences of his narcissism.”

By Marlow Hurst

“What often felt like a Doctor Who Christmas special blossomed into a heartfelt and scathing examination of modern historiography and our mental constructions of historical characters.”

By Oscar Eggleton

“Yang builds the character from humble beginnings in the first Act into an immense exposé in the deterioration of Macbeth’s moral character. By the final Acts, Yang’s Macbeth is a manic, larger-than-life presence that looms over every scene.”

By Lilly Aggio

“Both Cabubas and Coffey do a remarkable job in showing an emotional depth through the peeling of layers away from their performative selves. In this way and many others, I think that director Margaret Thanos has done an excellent job.”

By Ellie Stephenson

“The lighting - at times pink, deep blue, or bright white - washes the theatre, giving the sense that Marianne and Roland’s love story occurs suspended in space; our stars inhabit the centre of a Cellar Theatre-sized multiverse.”

By Prudence Wilkins-Wheat

“Directors Ange Tran and Matthew Forbes took this starkly relevant dialogue-heavy script and energised it. What could have dragged, actually became an animated, moving commentary on one of the most politicised topics in modern times: the climate.”

By Margot Beavon-Collin

“SUDS’ Orlando was magnificent. I saw it three times during its run, and wish I had gone again. It represents everything that student theatre, and theatre in general, should aspire to be.”

By Emily Elvish

“The production utilises gender as both a symbol and an accessory, highlighting the intricacies of gender identity and the lengths that society still has to go to completely appreciate these complexities.”

By Shania O’Brien

“The Bleeding Tree is a triumph for first-time director Alice Stafford and first-time assistant director Katherine Porritt-Fraser. Produced by Margaret Thanos, Stafford and Porritt-Fraser’s rendition of the play is haunting and heavy, telling an atmospheric story of domestic abuse, murder, and decay.”

“Watching SUDS’ ‘Rhinoceros in Love’ reconciled the two identities I and many other students struggle with as the bridge between Asian and Western cultures.”

“With a razor-sharp wit, the production blends slapstick, farce and irony to provide audiences with one of the funniest plays of the year.”

“The three actors shared palpable chemistry and were a pleasure to watch. This play is incredibly thought provoking and engaging from start to finish.”

“Zoe Hinton and Alex Bryant excelled in their individual and combined performances of Moira and Peter, as the two were able to capture the intricacies of an adult relationship and skilfully command the tension the script naturally create.”

“SUDS’ latest production is a clever and beautiful creation … It alternates ably between the macabre, the poetic, the humorous, and the borderline hysterical, mulling over the nature of power and logic.”

“The verdict: stellar reviews to all the cast and crew. It was a wonderful experience to be in the audience and I recommend that you give it a watch.”

“All aspects of production were expertly tailored to the emotional subtext of the script and recurred throughout to unify the piece across all creative elements. It was quite possibly the tightest ensemble I have seen from SUDS this year.”

“SUDS’ production of Harold Pinter’s 1957 play, The Birthday Party, is filled with such charm that the opening scene leaves the audience equal parts captivated and perplexed.”

“Challenging, but with some light to balance its shade, The Dark Room was at its best in its most tender moments … All in all, The Dark Room demonstrated an impressive calibre of acting, direction and production that ends this year for SUDS on a high note.”

“… this is Black Hands’ clearest success – its capacity to transform a historical genre into a show that forces us to question our own ethics.”

“SUDS partners with Improv Theatre Sydney for a production which now proudly holds the badge of ‘world record for the longest continuous improvised theatre performance’.”