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The 2010 Sydney Festival has afforded me many first experiences- and The Arrival is another- my first experience of New Zealand theatre AND the first theatre production I have seen at Carriageworks. In the past three weeks I have been experiencing a range of Children’s theatre- ranging from local Australian adaptations to large scale adaptations of foreign stories- now an adaptation of a graphic novel by Shaun Tan – “The Arrival”. more…
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Last Thursday night was my first adventure into the world of Urban Theatre Projects, a company I had long heard about but never experienced their work… why? Perhaps I was frightened off site-specific work during my performance studies degree… perhaps because I am a die-hard L-plater/public transport advocate who feared the late train ride and obscure locations in the Western suburbs of Sydney? I don’t know. more…
It has been one of the most talked about festival shows- this is very much a show for anyone who has ever wanted to run away and join the circus. If you have tickets- good on you- these and hens teeth etc etc… for those who are wondering about tix for next to nix- yep its worth it if you can have a nap in the middle of the day- coz its a late night you don’t want to be drowsy for! more…
I want to briefly mention the production of Midnite I saw on Saturday at New Theatre… adapted by Richard Tulloch from Randolf Stow’s “The Story of a Wild Colonial Boy”, directed by Jodine Muir and Jennifer Monk. more…
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Someone told me once that the reason why the name “Macbeth” is not to be uttered in the theatre is not because of its supernatural/bloody themes- but because it is the show that is produced to financially save a theatre on the verge of bankrupcy- and so “Macbeth” has become synonymous with a theatre in trouble. Also apart of this old theatre knowledge- which like all gossip doesn’t know its source nor author- is that A Midsummers Night’s Dream has the same function for a theatre in trouble- because it is a crowd pleaser. more…
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When I enter the space- not through the usual entrance there is a steady dark drone that growls its throaty hum. Performers walk in the space- three walk slowly along the tops of antique pianos- another welcomes me at the door- another has a goldfish bowl with the sacred undergarment he asks me to respect- another asks me to show her my underwear- another is dragging bodies onto the floor and undressing the ensemble down to their underwear. Light spills lazilly over the bodies slumped in the semi-dark allowing each occasional detail to be amplified- the glint of a toe ring- the curl of a tattoo on a rested foot… more…
And for those who weren’t there today at Belvoir Street to see the announcement of the Philip Parsons Young Playwright’s Award for 2009- you missed an interesting day…and an interesting announcement. more…
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Sydney Ghost Stories is a collection of plays from creative producer Katy Alexander written by six of Australia’s most celebrated and up and coming playwrights: Rebecca Clarke, Verity Laughton, Tobsha Learner, Lachlan Philpott, Toby Schmitz, Stephen Sewell. This collection according to the program notes, started off as a “bare bones” production harking back to the “round the campfire” setting. And from this beginning point it has blossomed into the production that is now playing. more…
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Titled “Award finalist withdraws in protest”- Caleb’s letter has reached the Sydney Morning Herald – complete with comments from Neil Armfield and one of Caleb’s fellow finalists Tamara Asmar: more…
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Independent theatre productions are one of my favourite things- I am always more impressed with what can be acheived by a committed group of artists than a corporate brand. Shining City is one of those shows that you know you just want people to see because it is a really interesting story told well by a group of impressive actors. more…