The Russians certainly do not shy away from the dark side of human nature. So when a Russian writer takes on Macbeth, you can expect interesting results. Enter Nikolai Leskov, whose novella Lady Macbeth of Mtsensk relocates the lady of Shakespeare’s classic to Russia, placing her in the midst of a dark fairy tale, filled with lust and intrigue. Katerina, an intelligent and frustrated young wife, is left at home with her tottering, conservative father-in-law when her merchant husband departs on business. While the cat’s away, a young farmhand generously offers her his services, and their mischievous joy can only last so long before the order demands to reassert itself.
Stylistically, this Australian adaptation of the Russian novella draws on a rich cultural history, and does so well. The first half focuses on the Dostoyevski-style downfall of the lady and her lover, pivoting around short, poetic moments. The shorter second half follows the ‘punishment’ end of the bargain, employing a more contemporary approach. The contrast between these two elements strengthens both sides, while creating an interesting tension which demands the audience reconsider their interpretations. Raw and intense, this is an interesting and exciting production.

Until July 26. Belvoir Downstairs Theatre, 25 Belvoir St, Surry Hills. $10-29, 9699 3444 or belvoir.com.au

Griffin Theatre Company plays a hugely important role in supporting and illuminating new Australian works – the most obvious example being Michael Gow’s Away, which premiered with the company just over 20 years ago. The latest script to be premiered at the Stables Theatre, Steve Rodger’s Savage River, makes us very glad that Griffin is continuing to support local talent.

Savage River introduces us to Kingsley and his son, Tiger, who live in the remote north-west of Tasmania, isolated from the world and humanity. Isolated, at least, until Jude – a lost soul with a confused sense of morality – decides to stay temporarily, and inadvertently turns all three lives upside down.

All three characters are explored with great tenderness, both by the script and cast, and the moral ambiguity of this production is a great strength. Ian Bliss, Travis Cardona and Peta Sergeant all invest their characters with well-considered details and quirks that are required by the stripped-back poetics of the writing. Stephen Curtis’ stage design is subtle, but also has the ability to lend a breathtaking aura to particular moments. Similarly, Jed Kurzel’s compositions work delicately within the performance, while lifting particular details to become profound. Savage River is relevant, intelligent, hilarious, unique and powerful.

Until 18 July. SBW Stables Theatre, 10 Nimrod St, Kings Cross. $26-44, 8002 4772 or griffintheatre.com.au

Dealer’s Choice is a fast talking English tale of six men and their love of, or addiction to, the game of poker. Tied into this seemingly straightforward card game is a plot to open a restaurant in a toilet, attempts to negotiate a relationship between father and son, and an unyielding determination to bleed any available suckers, or ‘mugs’, for all they’re worth. Imagine Lock, Stock and Two Smoking Barrels meets Down and Out in Paris and London set in the basement of a questionable restaurant, and you’re starting to get close.

The ensemble cast work smoothly and succinctly with both their actions and words, and watching their reinterpretation of familiar poker actions to tell their stories is like watching an elaborate ritualistic dance. The production as a whole is incredibly slick: director Craig Illot is clearly running a tight ship, which operates perfectly with Patrick Marber’s polished and highly acclaimed script. Dealer’s Choice is, in fact, so refined that it can initially be difficult to engage with. However, a little work on the part of the audience only serves to add weight to the overall experience as the play kicks in after interval, leaving you stunned, impressed and fascinated by the psychology of these men and their games.

Until 4 July. Darlinghurst Theatre, 19 Greenknowe Avenue, Potts Point. $27-37, 8356 9987 or darlinghursttheatre.com

This debut offering from Rick Viede is both edgy and energetic. Following the stories of two 20-somethings trying to carve a path in the tough world of big-city London, Whore is Jack the Ripper, Trainspotting and The Secret Life of Us all rolled into one. This one is not for the faint-hearted: nudity, strobe lights, drug use and adult themes all feature. It is a risky performance for both the actors and the audience, as the body both metaphorically and physically dominates this production.
The association with FBi radio lends both credibility and an appropriate soundtrack to this production, and helps to convey the themes and concerns of this play with a vivid intensity. By tying the script to relatable cultural markers, the music makes this production relevant to more than just a limited 20-something audience. Set and lighting design also play an important role in making this production cutting edge and effective, and the recurring techniques are highly visceral.
The actors, particularly Rhiannon Owen, are forced to struggle to hold their own in this sensory onslaught. That said, they do so with an intensity and level of belief that provides necessary emotional depth. This production is a challenge, but definitely a worthwhile one for those who are brave enough to venture beyond their own world.

Until 28 June. Belvoir Street Downstairs Theatre, 25 Belvoir Street, Surry Hills. $10-29, 9699 3444, or belvoir.com.au

Anyone familiar with the northern suburbs of Sydney will recognise the character that Sophie Kelly has created in Miriam. This character skit disguised as cooking show is irreverant and hilarious, but also highly critical of the caricature that it affectionately portrays.
Those expecting a highly evolved production will be disappointed, but the strength of this production is its freeform, unexpected brilliance. The physicality of her comedy demands a huge level of commitment, but Kelly never hesitates. Her performance is well-practised, to the point of becoming instinctual, which allows her to connect with the audience in a highly unique and direct manner.
Kelly does struggle to maintain pace throughout her performance, but that said, the goal that she has set herself in Miriam and the Monkfish is a huge challenge. This production is localised and relevant, and definitely worth a watch.

Until 26 June. Old Fitzroy Theatre, 129 Dowling Street, Woolloomooloo. $13-25, 1300 438 849 or rocksurfers.org

To state the obvious, Australia in 1953 was a different time. Menzies was prime minister, World War II was a not-so-distant memory, and the arrival of television was still three years away. However, one major similarity between the Australia of the early 50s and today is an atmosphere of change and upheaval. Ties with England were becoming strained, the myth of the outback was being challenged by increasing urbanisation, and former patterns of living demanded to be renegotiated.
Ray Lawler’s Summer of the Seventeenth Doll is a legendary and innovative script that captures the essence of this period, but is unfortunately often reduced to a sombre school history lesson. New Theatre’s production does take a little while to settle into and, as an audience member, you need time to change your pace. However, as the script shifts into gear after interval, this production reveals its surprising power.

Director Rosane McNamara has done an exceptional job of subtely drawing out the grit and resistance of individual characters, and the cast ensure that almost every line conveys as a revelation. It feels fitting to see this remarkable play at a place with the history of New Theatre, and thankfully this production more than lives up to expectations.

Until July 4. New Theatre, 542 King Street, Newtown. $17-28, 1300 306 776 or newtheatre.org.au

The Tree of Life is an important motif in both Ancient Egyptian and Jewish belief, among many other cultures and traditions. According to Christianity, the Tree of Life grew in the Garden of Eden, while Charles Darwin also refers to it in The Origin of the Species. The latest individual to contribute to this chain of mythology is Kevina-Jo Smith, a Sydney-based artist who is fascinated by the idea of a protective canopy which shelters and nourishes all life.

Stay Close, I Will Never Fail You weaves nostalgia, escapism, discovery and utopia through representations of Australian flora and fauna. “I am going a bit Australian at the moment,” Smith explains. “I am constantly trying to fill my memory bank with leaf shapes and textures, but I’ve been noting how Australian natives are so on par with uniqueness and intrigue. We have some of the most inspiring and beautiful plants.” Texture and detail are of principal importance in these highly tangible works, which are painstakingly handmade: knitting, weaving, braiding, knotting, drawing, painting, carving, machine sewing and hand sewing all feature.

Smith’s concerned with conserving and sustaining nature is also evident in this body of work. Most materials used are natural or recycled, and nothing unused is ever thrown away. The works themselves are intended to be reused, and have a function wherever possible: nothing is ever labelled as ‘useless’. This concern also materialises on a more symbolic level, and the Australian flora and fauna superhero outfits included in this exhibition are a gesture of of the artist’s desire to shelter and nourish.

As a distinctly Australian re-imagining of the Tree of Life, Stay Close is a plea for the recognition and protection of our unique natural landscape. Smith draws our attention to the words of Frank Lloyd Wright: “Study nature, love nature, stay close to nature. It will never fail you.”

 June 12-27. Opening June 12, 6-9pm. Black & Blue Gallery, blackandbluegallery.com.au

In the familiar genre of Australian films focusing on criminals, this offering from first-time feature length director Glendyn Ivan is a rare gem. A father, desperately attempting to outrun the law after committing a violent crime, takes his ten year old son, Chook, on the road. It quickly becomes clear that the greatest challenge in their attempt to survive is their relationship, forcing Chook to decide the future for them both. The cinematography in this film is nothing short of stunning, particular in the way that it draws on distinctive Australian landscapes. Hugo Weaving, as father, and Tom Russell, as son, both lend a humble and endearing credibility to their roles. In a word, Last Ride is unmissable.

CarriageWorks is a growing hub for a variety of creative enterprises, and the Autumn/Winter edition of the Finders Keepers market will be no exception. These independent design and arts markets focus on fostering new and original talent, and attract a wide audience – over 4000 people explored the inaugural markets late last year. Treasures to be found in second  one include Little White Dish’s hand dyed porcelin pieces, In-Sync’s colourful contemporary jewellery, Secret Squirrel’s vintage-inspired clothing, and Ruby and Scarlett’s limited edition letter-press greeting cards. Combine all this with a café,  bar and free live music all day and night, and attendees are guaranteed not to leave disappointed.

15-16 May. CarriageWorks, 245 Wilson Street, Eveleigh. Free, thefinderskeepers.com

The Australian Theatre for Young People (atyp) has been working for over 40 years to nurture creativity and encourage authentic voices of expression from youth. A Secret Place is the latest production to emerge from this institution, as part of atyp’s new Young Artists’ Program and under the guidance of Zeal Theatre.
It’s a collectively devised piece, arising from the instincts, experiences and concerns of the ensemble. The bravery of the young cast is reflected in their choice of themes: a personal exploration of drug culture, drawing on numerous true stories. It is a complex and honest look at addiction and love, and their roles in youth culture. The characters are followed from their mid-teens through to their mid-20s, and the plot traces the pivotal situations that they encounter over this ten-year period. Zeal Theatre has a reputation for raw performance, blending comedy with drama, and mixing in a touch of live music for good measure. A Secret Place promises to be an interesting concoction which will hopefully uncover risky and innovative new practices for the future of Australian theatre.

1-9 May. atyp Studio 1, The Wharf, Hickson Road, Walsh Bay. $10-15, 9251 3900 or www.atyp.com.au