{"id":170242,"date":"2026-05-27T08:19:33","date_gmt":"2026-05-26T22:19:33","guid":{"rendered":"https:\/\/theblurb.com.au\/wp\/?p=170242"},"modified":"2026-05-27T08:20:26","modified_gmt":"2026-05-26T22:20:26","slug":"lazarus-at-theatre-works","status":"publish","type":"post","link":"https:\/\/theblurb.com.au\/wp\/lazarus-at-theatre-works\/","title":{"rendered":"Lazarus, at Theatre Works – theatre review"},"content":{"rendered":"

It is a shocking tale of displacement (being wrenched away from family), discrimination, institutionalisation, foster homes and police intimidation. As a result, there is acting up, trouble making, drinking, smoking and getting in with the wrong crowd. Then there is the opportunity to turn it all around, to create a lasting legacy and, with it, aid the Indigenous cause.<\/p>\n

\"\"
Photos by Steven Wright Mitchell<\/figcaption><\/figure>\n

This is the extraordinary true story of Taungurung Elder, activist and storyteller Larry Walsh, whose life, as he had known it, ended by the age of two. Larry was one of nine children, four of whom were taken from their fruit picker mother. The reason given at the outset is that she was an itinerant worker.<\/p>\n

\"\"<\/p>\n

Four fine actors play a series of more than 20 characters in this deep dive into culture, resilience, community and Country. Lazarus is also about the unbreakable ties between mother and child, as the three male actors play Larry at different ages. The script is by John Harding, who weaves a deeply distressing story \u2013 drawn from interviews with Larry Walsh \u2013 with distinction. It is about pain and injustice, resistance and spirit.<\/p>\n

\"\"<\/p>\n

Remarkably, Larry came through all that he endured to become a leader \u2026 an Elder, a voice for those who were silenced. I can\u2019t speak more highly of the performances or the execution, nor of the tight direction by Kamarra Bell-Wykes, who keeps the action moving. Sermsah Bin Saad, Nathan Wright, Riley Warner and Teresa Moore extract maximum impact from their endeavours on stage.<\/p>\n

\"\"<\/p>\n

They readily channel variations in tone and come across as totally credible. They imbue heart and character into the roles they play. In Moore\u2019s case, I speak of a determined mother, a hard-working family woman, a respectable schoolteacher and girlfriend. The men channel a scared little kid, mates on the tear, police, a PTSD-affected foster parent and, eventually, a determined activist.<\/p>\n

\"\"<\/p>\n

There is much, too, in the staging. Justin Green\u2019s set design, a semi-circle of leaves, twigs and bark, and a large, specially constructed screen onto which historic imagery is projected, is striking. I commend Cobie Orger for the video design. Working well in tandem with that are the sound design from composer Todd Bennett and the lighting design by Tim Bonser, which sheet home the different moods.<\/p>\n

\"\"<\/p>\n

Lazarus is deeply moving, upsetting and, ultimately, uplifting. It is a compelling story that needed to be told and it resonates loudly and proudly. Eighty minutes without interval, it is playing at Theatre Works until 6th June, 2026.<\/p>\n

Alex First<\/h4>\n","protected":false},"excerpt":{"rendered":"

It is a shocking tale of displacement (being wrenched away from family), discrimination, institutionalisation, foster homes and police intimidation. As a result, there is acting up, trouble making, drinking, smoking and getting in with the wrong crowd. 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In 1968, when the play premiered Off-Broadway, homosexuality and illegality were inextricably linked. The Boys in the Band put the joys and fears of being a homosexual into the public domain. 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Steven Levenson (who received the gong for Best Book) has injected warmth and humour into the slice of life drama that makes for an enthralling\u2026","rel":"","context":"In "Theatre"","block_context":{"text":"Theatre","link":"https:\/\/theblurb.com.au\/wp\/category\/theatre\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2024\/12\/rsz_1dear_evan_hansen_credit_daniel_boud_125.jpg?fit=800%2C534&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2024\/12\/rsz_1dear_evan_hansen_credit_daniel_boud_125.jpg?fit=800%2C534&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2024\/12\/rsz_1dear_evan_hansen_credit_daniel_boud_125.jpg?fit=800%2C534&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2024\/12\/rsz_1dear_evan_hansen_credit_daniel_boud_125.jpg?fit=800%2C534&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":104486,"url":"https:\/\/theblurb.com.au\/wp\/burn-this-fortyfivedownstairs-theatre-review\/","url_meta":{"origin":170242,"position":5},"title":"Burn This (fortyfivedownstairs) – theatre review","author":"Alex First","date":"January 29, 2021","format":false,"excerpt":"How often do you hear about a good girl being attracted to a bad boy?\u00a0So frequently, that it has all but become a truism.\u00a0And that is the case in Lanford Wilson\u2019s (who won the 1980 Pulitzer Prize for Drama) Burn This, which opened off Broadway in 1987. 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