Dear Readers As some of you will already know, I've decided to close down Theatre Notes. It's a decision that's been staring m...

The Madwoman of Chaillot by Jean Giraudoux, adapted by Maurice J. Valency, directed by Simon Phillips. Designed by Stephen Curtis, lighting...

Melbourne Festival Diary #8 I woke the morning after seeing the Schaubühne Berlin's production of Henrik Ibsen's An Enemy of the P...

It's proverbial that there is a Hamlet for every century. As Jan Kott says, it's a play that absorbs its times. The Romantic era ga...

Polly Stenham's That Face - famously written when she was 19 - is most often compared to Who's Afraid of Virginia Woolf ? - not lea...

Holding The Man , adapted by Tommy Murphy from the book by Timothy Conigrave, directed by David Berthold. Set design by Brian Thomson, costu...

The nominations for the Helpmann Awards , our national awards for the performing arts (yes, I know it's problematic), were announced ea...

The worst of the GFC (which, incongruously, always makes me think of Roald Dahl's Big Friendly Giant ) is yet to hit us here in Australi...

The Serpent's Teeth: Citizens and Soldiers , by Daniel Keene, directed by Pamela Rabe and Tim Maddock. Set design by Robert Cousins, co...

Here at TN, we proudly stand at the cutting edge of the art of ugly neologism. I guess it goes with an unfortunate passion for awful puns th...