For the first thirty seconds I thought we were in for something special in Queen Lear . Robyn Nevin in the titular role, regally costumed in...

Last night, Lee Lewis' Platform Paper on Cross-Racial Casting was launched at the Beckett Theatre with vim, espièglerie and lashings of...

Ninety by Joanna Murray-Smith, directed by Simon Phillips. Designed by Andrew Bellchambers, lighting design by Nick Schlieper. With Melinda...

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...

Melbourne Festival #5 The Show Must Go On by Jérôme Bel. Playhouse Theatre, Victorian Arts Centre, until October 18. Bookings: 1300 136 166...

Festival Diary #3 Now That Communism Is Dead My Life Feels Empty by Richard Foreman. Direction, composition and design by Max Lyandvert. Li...

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

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 know it's been quiet on the blog the past couple of days. However, it has not been quiet at home: I've been putting together an Op...

I walked out of the opening night of Lally Katz's new play Return To Earth with my stomach in a knot. Readers, I have seldom seen a pro...