At This Year’s Rising Festival, I Was Most Excited By The New And Unexpected Audiences
Rising situates itself as a festival of new art, performance and music that takes place in the...
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Melbourne
New Aussie Musical “Bloom” Misses An Opportunity To Interrogate The Gaps In Aged Care – And In Our Social Fabric
Bloom, the new Australian musical produced by the Melbourne Theatre Company, is proudly billed by...
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Rising Has Yet To Establish Its Voice – But This Year’s Festival Gave Us Significant And Thrilling Work By First Nations Artists
Rising has just completed its second run across Melbourne. The newest addition to the city’s...
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More Than 2,000 People from Wittenoom Died of Asbestos-Related Diseases. A Powerful and Compelling Requiem Brings Their Story to the Stage
Deep in the remote Pilbara region of Western Australia, the town of Wittenoom lies empty,...
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In Finucane & Smith’s “Future. Joy. Club.” the Joy is Much More Than the Sum of Its Parts
Review: Future. Joy. Club., Finucane & Smith The theatre of the occasion starts with a...
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Comic Anticlimax in Nat Randall and Anna Breckon’s “Set Piece”
Review: Set Piece, by Nat Randall and Anna Breckon, for Rising. Nat Randall and Anna Breckon’s Set...
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Stop the World, I Want to Get Off! In “Exit Strategies,” One Woman Leaves and Leaves Again
To perform an exit is not as simple as it sounds. In fact, exiting a situation can be almost...
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A Radical New Adaptation Eviscerates the Dominance of Male Voices in Wake in Fright
Australian literary classics are currently enjoying a comeback at our major theatre companies....
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“The Cursed Child” Is The Latest In A Line Of Big Shows That Date Back To The Romans
“This,” the Chicago Tribune critic reminds us on the billboard of seemingly every tram stop in...
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In “Trustees,” Belarus Free Theatre Mercilessly Demolishes Australia’s Cultural Debate
The Belarus Free Theatre, exiled from their home nation, has returned to Australia to collaborate...
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An Adaptation of Samuel Beckett’s “Watt” Questions Being And Perception
It resembled a pot, it was almost a pot, but it was not a pot of which one could say, Pot, pot,...
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“The Curious Incident Of The Dog In The Night-Time” Trades Deadpan For High-octane
The National Theatre’s production of The Curious Incident Of The Dog In The Night-Time, currently...
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Encountering Indonesia At AsiaTOPA (Part 2)
This is the second in a two-part series by Barbara Hatley. Read Part 1 here. Reflections on...
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Encountering Indonesia At AsiaTOPA 2017 (Part 1)
This is the first in a two-part series by Barbara Hatley. Read Part 2 here. Indonesian...
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Big Bang: “Germinal” Creates a Universe Out of Nothing On Stage
In theatre-making, we often talk about world creation. “What is the world of the play?” teachers...
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Melbourne’s La Mama Demonstrates The Value of Independent Theatre
This year Melbourne’s La Mama Theatre celebrates its 50th year of operation. In an interview for...
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50 Years of Melbourne’s La Mama Theatre
When Betty Burstall returned to Australia in 1967 after two years in New York with her husband,...
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“Only Heaven Knows” Brings 1940s Queer Sydney Roaring Back to Life
Only Heaven Knows, a musical about a young Melbourne man who discovers the queer delights of...
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“The Book of Exodus – Part I” at Theatre Works
Retelling the Biblical Book of Exodus through the eyes of children The biblical Book of Exodus...
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Lies, Monsters and Kate Mulvany’s Intensely Human Portrayal of Richard III
As we all know, the first line of Shakespeare’s Richard 3 reads, “Now is the winter of our...
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