Newsy bits

TN has got a little behind lately on various Bits, but I'm not going to make any more mimsy excuses. You all know why, and if you don...

Review: Exit the King

Exit the King by Eugene Ionesco, directed by Neil Armfield. Designed by Dale Ferguson, lighting by Damien Cooper, composer John Rodgers, sou...

Ghost writer

If you haven't caught up with it, allow me to point you to a fantastic post (really, an essay) among the responses to my review of Ross ...

Review: The Season at Sarsaparilla

The Season at Sarsaparilla by Patrick White, directed by Benedict Andrews. Design by Robert Cousins, costumes by Alice Babidge, lighting by ...

Interlude

Yes, patient readers, your hyper-worded blogger ran away from Melbourne and immersed herself in the fleshpots of Sydney, far far away from t...

New plays?

A quick pointer before I dash to Sydney towards the SMH, where entertainment blogger Chris Dobney uses Stephen Sewell's latest play at B...

Review: Black, The Ghost Writer, Ashes to Ashes

Black, created by Anna Tregloan. Sets and costume design Anna Tregloan, composition and sound design David Franzke, lighting design by Paul ...

Review: Grace

Grace, written and directed by James Brennan. Designed by Adam Gardnir, lighting by Nik Pajanti, sound design by Peter Brennan. With Gary Ab...

Me on blogs

It probably won't tell a lot of you anything you don't know: but all the same, Alison's Arts Blog Primer has been given front pa...

The Writer, The Theatre, The Play

The conversation on playwrights v. writers for theatre sparked by Edward Albee and continued in various blogospherical spaces is getting pro...

Review: All My Sons

All My Sons by Arthur Miller, directed by Kate Cherry. Designed by Richard Roberts, lighting by Jon Buswell, composer Peter Farnan. With Jan...

The Playwright as King

Chris Goode, of the admirable Thompson's Bank of Communicable Desire, once made a distinction between those who are playwrights and thos...

Punchus sublimatus

Wanting to punch theatre reviewers is one of the many pleasures of a life in the theatre. This impulse, in TN's very bourgeois view, is ...