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...

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...

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

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...

Baal, pagan Lord of Heaven, god of rain and fertility. Baal, the first king of the Christian Hell, best known to us as Beelzebub. Milton...

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

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

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...

UPDATES: Some well-considered words from Ben Ellis over at Parachute of a Playwright and gobsmacked disbelief from our man in berlin Da...

Polly Stenham's That Face - famously written when she was 19 - is most often compared to Who's Afraid of Virginia Woolf ? - not lea...