Around the web

Prompted by recently seeing Endgame, I've been having a private Beckett-fest of my own lately, revisiting some of those inimitable writi...

Correspondence: Chris Bendall

Chris Bendall, artistic director of Theatre@Risk, is - quite understandably - rather pissed off at his production being the sacrificial lamb...

Review: For Samuel Beckett

For Samuel Beckett: Endgame, by Samuel Beckett, directed by William Henderson and Anne Thompson. Design by Julie Renton, lighting design by ...

The problem of praise

UPDATE: Pertinent to the discussion nicely bouncing along in the comments here: a speech by the distinguished American critic Eric Bentley o...

Essay: The Theatre of Difference

Last Sunday, Daniel Keene delivered the 2006 Rex Cramphorn Memorial Lecture to around 300 people at the Malthouse. It was a grand afternoon....

Mad as a Coote

The Liberals have announced their arts policy and, by gum, I'm off to tell those demonstraters outside Bracksie's office (just down...

Review: Babes in the Wood / Tomfoolery

Babes in the Wood by Tom Wright, directed by Michael Kantor. Music by Iain Grandage, design by Anna Tregloan, lighting by Paul Jackson, chor...

Clarification: Artistic Counsel

On the weekend, a few people asked me about my job at the Malthouse Theatre. This is because in an otherwise quite decent interview with Da...

Review: The Yellow Wallpaper

The Yellow Wallpaper, by Charlotte Perkins Gilman, adapted by Peter Evans and Anita Hegh, directed by Peter Evans. Design by Adam Gardnir, l...

Bits and Bobs

A group of talented young theatre artists is bringing some of Australia's theatre history to life at the Northcote Town Hall this week (...

Rex Cramphorn Memorial Lecture

This Sunday, get along to the Malthouse to hear Daniel Keene deliver the Rex Cramphorn Memorial Lecture, an annual lecture to honour the mem...

Review: The Damask Drum

Mishima in the City: Duets of Desire. 2: The Damask Drum, adapted from the plays by Yukio Mishima and Zeami, directed by Robert Draffin. Fil...

15th century post modernism

You can tell that I'm writing a novel. It's having lamentable affects. I'm (mostly) doing my 2000 words a day, but it seems to b...

Oddments

Regular TN readers will know I have the odd problem with documentary theatre, but it has entered a new and surreal dimension that makes my f...

Stars etc

American bloggers are getting very excited about the appointment of Cate Blanchett and her husband Andrew Upton as the joint artistic direc...

Desperate Days in the Bunker

I feel like I can't be bothered to mention this, but I suppose I should. Perhaps it's anticipatory hysteria at the thrashing the neo...

Arts funding: some further thoughts

Some notes arising out of the present discussion:1. The question of funding the arts is a no-brainer for artists. Not, as alleged by populis...

Speaking up for theatre

I just did something unprecedented, and closed off the comment thread to my post on the threat to La Mama's funding. TN had swum into th...

La Mama, funding and freedom of speech

Good things come to those who wait. The Age finally ran my opinion piece on La Mama Theatre being put "on notice" by the Australia...

Off the Deep End

Depressing news on the grapevine today - ABC Radio National is axing its popular daily arts program The Deep End. Which means, aside from Th...