A passionate theatre person Lynne is originally from Sydney and holds a B.Ed (Art) – a postgraduate Diploma in Information Management (Librarianship) and an MA in Theatre. While living in London ( 2002 -2007 ) Lynne completed the dance criticism course at Sadlers Wells linked in with Chichester University.
Lynne has worked for both Ticketek and Ticketmaster here in Australia and was involved with the original production of THE BOY FROM OZ
An Ausdance member Lynne is passionate about dance and has studied ballet and Flamenco. Before moving to London she photographed the Sydney Dance Company and Australian Ballet among other companies and has exhibited internationally.
Lynne is a SAMAG member and a volunteer at the Art Gallery of NSW. Currently Lynne writes for arthub, danceinforma and sydneyartsguide.
Sadly Lynne passed away in December 2024.
Challenging and provocative, this is a luminous, shimmering, extraordinary combination of fourteenth century music and contemporary dance .
This is the first time the Biennale has presented a dance company as part of its program and what a thrill it
This is an extraordinary recording of the Nederlands Dance Theatre in their home theatre the Lucent Theatre in Den Hag of four short works. For dance affecionados this is a must see as NDT, revered in the dance world, so
The magnificent State Theatre was a stunning, very appropriate setting for this very chocolate-boxy work that demands very spectacular, lavish sets and costumes and magnificent dancing of the very difficult, showy traditional Petipa choreography (which actually sometimes was adapted rather
Christopher Plummer as John ( Jack) Barrymore is magnificent . This was filmed last year at the Elgin Theatre in Toronto , at the end of a sell out stage season. The stage show was originally seen in 1997 and
For one night only lucky Sydney siders were privileged to hear distinguished actor Simon Callow deliver a captivating monologue on Charles Dickens.
Now silver-haired, in mellifluous voice , Callow was casually yet elegantly dressed in a grey suit and had
Challenging, quirky and exciting this is a visually stunning, sometimes breathtaking work. It is the first in this year’s Reginald season and the last in Sue Healey’s ‘Curiosities’ series. It explores the curious complexities of the human form, aiming to
This is the Australian premiere of this wonderful play by Conor McPherson in a tremendous production by O’Punskys and directed by Maeliosa Stafford. Inspired by an eighth century poem, and with references to McPherson’s THE WEIR and Beckett’s ENDGAME, it’s
Glittering and spectacular, full of love, power, passion, treachery and revenge, this is definitely Grand Opera and can lend itself to excess – which is perhaps why it is associated with arena and outdoor spectaculars, with masses of extras swelling
There was tumultuous applause for this excellent revival of Bizet’s THE PEARLFISHERS, which originally premiered in 2000, directed by Ann-Margaret Pettersson. If you are into nineteenth century French Romantic opera then this is for you. It is almost sheer operatic
A Sydney premiere, this is a striking, rather unusual version that at times could be regarded as uneven and confusing if you didn’t know and love the book. (It is one my favourite books). However there are some very good