Last Rights. "The Last Acre" by Sean Riley. Oddbodies Theatre Company [review] 2005-12-20T01:46:10Z 2003-03
dc.description The Bakehouse, jazz saxophone, Kerry Reid, Kim Liotta, Nikki Fort, Dean Hills, Sue Grey-Gardner, Carl Nilsson-Polias, ArtsSA en
dc.description.abstract We know, and absolutely don’t want to know, how a single action, a single impulse can change everything. This is what we mean by a life-or-death moment, that split second, as we call it, when something irrevocable occurs and it can’t be changed back. This is the moment that can’t be believed even when it is re-lived repeatedly, the moment that is still true when you wake up the next day. It is when we know our lives are never going to be the same again. "The Last Acre" is a good play which has been brought to the stage by a dedicated and very able company. As a study of family it conjures contradictions and complex intimacies vividly and unsentimentally, as a portrait of a family paralysed, both actually and metaphorically, it is able to show resolution and some hope without being simplistic. en
dc.format.extent 293245 bytes
dc.format.mimetype application/pdf
dc.identifier.citation Bramwell, Murray 2003. Last Rights. Review of "The Last Acre" by Sean Riley. 'The Adelaide Review', March, no.234, 22-23. en
dc.identifier.issn 0815-5992
dc.language.iso en
dc.oaire.license.condition.license In Copyright
dc.publisher Adelaide Review en
dc.subject Theatre Reviews en
dc.subject Drama Reviews en
dc.subject Theatre en
dc.subject Drama en
dc.subject Arts SA en
dc.subject.other Australian Standard Research Classification > 410102 Drama, Theatre and Performance Studies en
dc.title Last Rights. "The Last Acre" by Sean Riley. Oddbodies Theatre Company [review] en
dc.type Article en
dc.type Preprint en
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