Naked censorship

Yesterday it was reported that police were investigating websites hosting Bill Henson's photographs. Aside from the grim humour of seein...

Review: Frost/Nixon

Frost/Nixon, by Peter Morgan, directed by Roger Hodgman. Designed by Richard Roberts, costumes by Judith Cobb, lighting by Matt Scott, compo...

The wash up

Daniel Schlusser pointed out last week that an illiterate idiot published in the Age was quoting William Blake in order to condemn Bill Hens...

Review: How To Disappear Completely

How To Disappear Completely and Never Be Found, by Fin Kennedy, directed by Paul King, Sound design by George Bisset. With Michael F Cahill,...

Briefly

This week has been a dead loss as far as what's loosely called "my life" is concerned. The phone's been running hot with t...

2020 Open Letter in Support of Bill Henson

I know it's been quiet on the blog the past couple of days. However, it has not been quiet at home: I've been putting together an Op...

On a less gloomy note

I forgot to mention, until reminded by my publisher this morning, that composer Andrée Greenwell's chamber outfit Villainelles last nigh...

Henson threatened with prosecution

Updates belowI am shocked and deeply disturbed to read this morning that photographer Bill Henson - one of Australia's most significant ...

Review: Through The Looking Glass

Through The Looking Glass, after Lewis Carroll. Libretto by Andrew Upton, composed by Alan John. Conducted by Richard Gill, directed by Mich...

Phew!

Good news on La Mama, who on Friday were facing what looked like an impossible task in order to buy their building - artistic director Liz J...

Interview: Fin Kennedy

Fin Kennedy is regularly dubbed one of the hottest new playwrights in Britain. And this week Melburnians get to see why - on Friday, Hoy Pol...

Navel gazing

A Sunday afternoon spent slowly ordering a chaotic house is always good therapy. As you know, Ms TN has been feeling a bit ragged lately. It...

$1.7 million to raise by Monday

Doing an Usher here - but the press release says everything. Just received from La Mama:One of Melbourne’s oldest and most fondly regarded t...

Bits and bobs

It's often hard to run down the arts angle on Federal Budgets. But in today's Australian, Corrie Perkin chases up arts reaction to T...

Review: A Soldier's Tale

The Soldier's Tale by Igor Stravinsky, adapted by Simon Stone, directed by Michael Robinson, conducted by Fabian Russell. Lighting desig...

What I've missed

Which, in the past week, has been almost everything. While I've been developing a painkiller habit you wouldn't believe, various sho...

Sick...

I just woke up from a dream in which I lived in an apartment with a huge hexagonal front room, each wall of which was a window. All the blin...

Indisposed

Ms TN has been dabbing her forehead with lavender water since Monday, attempting to mitigate what the redoubtable Miss Austen called "a...

Rattling the cage

I don't usually do memes, but this one is kind of fun. I've taken it from George Hunka over at Superfluities, and it runs like this:...

Bendall moves west

Chris Bendall, artistic director and co-founder of Theatre@Risk, today announced that he is pulling up sticks and moving to Perth to be AD o...

Review: Venus in Furs

Venus in Furs, by Leopold von Sacher-Masoch, adapted by Neal Harvey, directed by Marcel Dorney. Design by Lucie Sprague, lighting design by ...

The culture wars continue

So yesterday the Malthouse launches what is, on first sight, its best balanced season yet, demonstrating diversity, depth and - addressing a...

Review: Ollie and the Minotaur

Ollie and the Minotaur, by Duncan Graham, directed by Sarah John. With Sarah Brokensha, Adriana Bonaccurso and Wendy Bos. floogle in associa...

Little Alison's Great Diary Disaster

Ms TN set some kind of record this week - I inadvertently managed to book myself into three separate shows on a single night. (Apologies to ...