Hello, America!
Welcome back to the world!
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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...
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The Madwoman of Chaillot by Jean Giraudoux, adapted by Maurice J. Valency, directed by Simon Phillips. Designed by Stephen Curtis, lighting...
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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...
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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...
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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...
2 comments:
If I may speak for America, Alison, thanks. Good to be back, and we hope we don't blow it.
Ah, if only Ming-Zhu were still blogging:
U.S. President: male/identifiably non-white.
Sweeeeet.
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