Watching the development of theatre companies is a fascinating business. They are organisms subject to all the travails of being alive: grow...

Watching the development of theatre companies is a fascinating business. They are organisms subject to all the travails of being alive: grow...
A fascinating phenomenon over the past few years has been the revival of naturalism as a theatrical force. For years, commentators divided A...
Their flesh is heaving Inside me.Thyestes, Seneca, translated by Caryl Churchill. An idea - the antagonism of the two concepts Dionysian and...
In one of those interesting synchronicities, there is a rash of contemporary theatre examining the foundational Christian myths. As Hayloft...
In the interests of organisation, Ms TN has been tidying her desk. This bland, anodyne phrase cannot begin to comprehend the dimensions of t...
This Sunday The Hayloft Project is hosting a panel on “the art of direction” with some of Melbourne’s leading directors. Mediated by your hu...
In his stories and plays, Anton Chekhov is a pitilessly intelligent observer of human beings. A writer of enormous moral scrupulousness, he ...
A number of bits and pieces catch my eye this morning:1. Arts Minister Peter Garrett has asked the Australia Council and Screen Australia to...
The Soldier's Tale by Igor Stravinsky, adapted by Simon Stone, directed by Michael Robinson, conducted by Fabian Russell. Lighting desig...
Ms TN has been dabbing her forehead with lavender water since Monday, attempting to mitigate what the redoubtable Miss Austen called "a...
Chekhov Re-Cut: Platonov, by Anton Chekhov, adapted and directed by Simon Stone. Design by Evan Granger, lighting by Danny Pettingill, sound...
This weekend the National Play Festival kicks off in Brisbane. Under the aegis of PlayWriting Australia, the national body that has absorbed...
Spring Awakening by Frank Wedekind, adapted and directed by Simon Stone. Design: set by Jolyon James, Mark Leonard Winter and Simon Stone; c...