Poet's theatre

The zeitgeist is a wonderful thing. Days after my mini-discourse about poetic idioms in contemporary theatre in the comments of my review of...

Flogging the critical horse

So George Hunka is asked along to a show at Playwrights Horizons in New York, and his invitation stipulates that he is asked to blog his tho...

Review: Villanus

Villanus, by Vlad Mijic and Rhys Auteri. Performed by Vlad Mijic, with Raphael Hammond (video). Lighting and set design by Vlad Mijic, music...

Stopgap

Little Ms Alison is a bit wan today: the last week has been full-on, and I've been out and about and missing my burrow. So I'm putti...

Review: Who's Afraid of Virginia Woolf?

Who’s Afraid of Virginia Woolf? by Edward Albee, directed by Peter Evans. Design by Christina Smith, lighting design by Matt Scott, sound de...

Melbourne Writers Festival

If you pop along to the Melbourne Writers Festival at 1.30pm this Sunday and wander into the Beckett Theatre, you'll find me on stage wi...

Uber-scooping

TN jumped the gun last week when we announced Maryanne Lynch's defence of Sleeping Beauty at Arts Hub. Yes, the reason there was no link...

Williamson returns

In 2004, our most popular commercial playwright David Williamson decided to go into semi-retirement. His decision was on doctor's order...

Brook's Lear

It's a truism to say that Peter Brook's film King Lear is a masterpiece. But what is a masterpiece? Saying this of a work can be a w...

Tanja Liedtke

The death of Tanja Liedtke, the brilliant young dancer who was to take up the leadership of the Sydney Dance Company in October, stunned the...

Update: Cross-Racial Casting

The threads are spinning on this discussion. The comments are flying on Lee Lewis's paper on Cross-Racial Casting, with some interesting...

The northern hemiblogosphere

Here at TN, we proudly stand at the cutting edge of the art of ugly neologism. I guess it goes with an unfortunate passion for awful puns th...

Cross-Racial Casting: or The Social Pages

Last night, Lee Lewis' Platform Paper on Cross-Racial Casting was launched at the Beckett Theatre with vim, espièglerie and lashings of ...

On banishing crrrritics

A quick pointer to an excellent post by Chris Boyd which, while pointing to some recent contemplations in the blogosphere (including Ming-Zh...

Interesting things

Yes, I know, Ms TN has been blogging like a maniac. Rest assured, I'll calm down over the next few days - I have a quieter week ahead. B...

Review: Holiday/Chapters from the Pandemic

Holiday by Raimondo Cortese, directed by Adriano Cortese. Design by Anna Tregloan, sound design by David Franzke, lighting design by Niklas ...

...and again

Update: More reader responses from Arts Hub here.Our self-appointed arbiter of public taste, Age journalist Robin Usher, has a big bee in th...

A confession of sorts

Taking a deep breath before leaping into reviews of the two other shows I've seen over the past week (Ranters' Holiday and Angus Cer...

Review: Criminology

Criminology, devised by Rosemary Myers and written by Lally Katz and Tom Wright. Design by Anna Tregloan, video design direction Peter Brund...

Salt Magazine

Salt Magazine, which under John Kinsella's editorship became one of the most stimulating literary journals of the 1990s, has resurrected...

News just in: Hamlet/MIAF bites back

Great news for those who missed the MIFF screenings of A Poor Theatre's brilliant film The Tragedy of Hamlet: Prince of Denmark. Malthou...

95 Sentences About Theatre

Your weekend reading: over the past few weeks, George Hunka at Superfluities has been nailing his equivalent of Martin Luther's 95 These...

Review: The Glass Soldier

The Glass Soldier by Hannie Rayson. Melbourne Theatre Company, Playhouse Theatre, Victorian Arts Centre. August 8. Until September 8. Bookin...

Review: The Tragedy of Hamlet, Prince of Denmark

As I left the Melbourne International Film Festival premiere of The Tragedy of Hamlet, Prince of Denmark, it occurred to me that I will prob...

Gongland

Yes folks, it's time for the thrill and glamour of the Helpmann Awards, which are presented tonight at the Capitol Theatre in Sydney. Ha...

Comments policy

I haven't uploaded an official comments policy, and I suspect it's time I did.One of the aims of Theatre Notes is to be a forum for ...

Review: 4:48 Psychosis

4:48 Psychosis by Sarah Kane, directed by Alyson Campbell. With Richard Bligh, Olivia Connolly, Tom Davies and Suzette Williams. Red Stitch ...

Traditional grousing

I don't think Robin Usher can help it. Bubbling with enthusiasm at the present domination of Melbourne stages with what he calls "t...