Rave Reviews for Lysicrates Plays!

December 11th, 2018

‘highly sophisticated, marvellously polished, and very funny indeed’ – Suzy Goes See

‘theatre with a tender heart and a hard head, confronting, conflicting, complex and compelling.’ – Australian Stage

The critics loved two recently staged plays that were shortlisted for the Lysicrates Prize in their early stage of writing.

The Feather in the Web, by Nick Coyle, has just completed its season at the Stables Theatre in Darlinghurst. One of the three shortlisted plays in the 2017 Lysicrates Prize, The Feather in the Web was included in the Griffin Theatre Company’s main season for 2018.

Here’s what the critics had to say:

Playwright Nick Coyle leads you into a mad tunnel of laughs, that has jokes, slapstick, silliness and satire jostling you relentlessly from all angles, until you feel pinched and punched into a state of comedic exhaustion. Then he hits you where it hurts with a mouthful of poignancy that leaves a lump in the throat.’ –  John Shand, The Sydney Morning Herald

‘Coyle makes fixation fascinating, weaving a wickedly funny web of unbridled surrender and spinning it with the darker side of unmitigated manipulation.’ – Richard Cotter, Australian Stage

‘… a thoroughly engrossing production, full of mystery and always bursting with energy …’ – Suzy Goes See

And across town at the Riverside Theatres in Parramatta, another critically acclaimed production!

Jesus Wants Me for a Sunbeam, Steve Rodgers’ adaptation of the novella by Peter Goldsworthy, played last month in a production by the National Theatre of Parramatta. The play in its embryonic form won the inaugural Lysicrates Prize in 2015.

The critics loved it.

‘Rodgers finds the moral and intellectual concerns within the puddle of raw emotion in his theatrical distillation of Goldsworthy’s story. Director Darren Yap continues the extraction of the essentials with clean and clear staging, serviced by a distinguished cast.’ – Richard Cotter, Australian Stage

‘… a touching, true-to-life production that demands an emotional commitment that is not usually expected from live theatre.’ –Carol Wimmer, Stage Whispers