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...

I missed the opening night of The Seed. From other reviews I've read, this was probably a good thing: sometimes it strikes me that pres...

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

Baal, pagan Lord of Heaven, god of rain and fertility. Baal, the first king of the Christian Hell, best known to us as Beelzebub. Milton'...

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

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...

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

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...

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

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