Melbourne Festival review: Whiteley's Incredible Blue, Foley

La beauté, “Beauty is difficult, Yeats” said Aubrey Beardsleywhen Yeats asked why he drew horrorsor at least not Burne-Jonesand Beardsley kn...

Review: The Dollhouse

In the past few years, adaptations of classic plays have become more the norm than otherwise in Australian innovative theatre. Two directors...

Review: The Burlesque Hour Loves Melbourne

Right now, just after the winter solstice, Ms TN is struggling. The skies have been grey for too long, the news has been bleak for too long,...

Review: The City/Bare Witness

I'm loath to say this, for several reasons, but nevertheless: sometimes you have to point out the obvious. (In Ms TN's case, pointin...

Review: Dying City, Do Not Go Gentle...

Christopher Shinn is rightly lauded as one of the most powerful and accomplished playwrights now working in the US. Like his compatriot Will...

Review: BC, Progress and Melancholy

In one of those interesting synchronicities, there is a rash of contemporary theatre examining the foundational Christian myths. As Hayloft...

Fringe: A Black Joy, Yuri Wells, In the Absence of Sunlight

In the interests of organisation, Ms TN has been tidying her desk. This bland, anodyne phrase cannot begin to comprehend the dimensions of t...

Review: And When He Falls

I have an acquaintance to whom the mention of Shakespeare is as the red rag to the bull. Mention the "S" word and veins start thro...