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...

No one is more surprised than I am. As of now, Ms TN is moonlighting as the Australian's Melbourne theatre reviewer, standing in for th...

Because Richard Bean's play The Heretic is about climate change, it attracted the notice of hardline climate change denier Andrew Bolt ...

As several appalled women have pointed out: with the marginalisation of women playing the theatre headlines, could there be a worse time for...

To my distress and dudgeon, I did Matt's Which Book Are You? quiz and found out that I am J. Alfred Prufrock . I guess it could be wors...

Every time David Williamson writes a new play, the Australian theatre world launches into one of its favourite games. It goes like this. The...

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...

Update: Jana Perkovic weighs in at Guerilla Semiotics . Well worth the read. Update 2: The Guardian 's Noises Off rounds up the brouha...

I’ve often pondered the astounding ability of puppets to generate intense emotional responses. How is it possible that we can identify so fi...

On Monday, I pointed to Neil Pigot's recent Age op-ed as part of a global sweep of items of interest, making a couple of brief comments...