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...

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...

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

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

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

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

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...

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