Last week, the Malthouse Theatre launched what looks like a very promising Season 1 for 2008. As well as a timely intention to address its carbon emissions with a 50c ticket levy that will be used for offsets, and an ambition - already thoroughly planned, if not yet funded - to redesign the theatre as exemplarily green. As director Michael Kantor says, if businesses wait for government leadership, nothing will get done.

But as for the season - my picks are Tartuffe (what is it with Tartuffe this year?) directed by Michael Kantor and Moving Target, a new play from Marius von Mayenburg commissioned by the Malthouse and the Sydney Opera House and directed by Benedict Andrews, the same team who brought us the brilliant Eldorado. Though Through the Looking Glass, with a libretto by the ubiquitous Andrew Upton and score by Alan Johns, and Venus and Adonis directed by Marion Potts, attract my eye as well. (Lots of co-productions here). As their offering to the Comedy Festival, they've picked up another Anne Browning/Peter Houghton collaboration - the same team who brought you The Pitch - from La Mama, with The China Syndrome. Oh, and don't miss Oscar Redding's miraculous film of Hamlet. I think that's the whole program.

More importantly - you know how narcissistic us bloggers are - the program prints a long list of bloggers under the heading "More Engagement". "Recently, we debated the virtues of a more chat-based space for our audiences," says the Malthouse. "In reality, there are already a host of independent blogs bursting with opinion and rattling the cages of certified criticism, and on which you can post your comments... Rather than compete, we thought we'd list some of the blogs we regularly visit." And so they have, in democratic alphabetic order. My god, a theatre more interested in discussion than in praise. Brilliaaant!

And as an addendum, TN notes that her campaign to reunite poetry and theatre is bearing instant fruit. This Wednesday, two shows open that feature two of her favourite poets, Sappho and Emily Dickinson. (This isn't quite what I meant by poetry in the theatre, but it's a good start). The irony is, of course, that given a rather intimidating deadline on a big project that has nothing to do with theatre, I might not be able to make either of them.