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Of all the productions to visit Australia last year, two of the best were Nature Theater of Oklahoma’s No Dice and Elevator Repair Service’s Gatz, the former a sprawling example of verbatim theatre at its most extreme and poetically inane
Claudia O’Doherty gives a charming performance as the sole surviving resident of Aquaplex, an international deep-sea habitat that was developed in the 1970s and exploded suddenly in the 90s. The production proceeds as a scattershot lecture about the facility and
“For the past ten years, people have been making fun of the 80s,” Canadian actress Lexa Doig complained recently. “Why are we bringing them back?” As one takes one’s seat in B Sharp’s Downstairs Theatre, one may wonder exactly the
Lally Katz is pondering the possibility of growing up. “Every now and then I’ll try it,” she muses down the phone line. “I’ll tell myself, ‘I’ve got to grow up, I’ve got to grow up’, but it never works. There
Director Simon Stone has proven again why he is one of the most exciting young theatremakers in the country with this loose, contemporary adaptation of Henrik Ibsen’s Little Eyolf. A spare visual concept helps to concentrate the emotional rigour of
The first book of serious film criticism I ever read—the first book of serious criticism of any kind, in fact—was Jonathan Rosenbaum’s Essential Cinema: On the Necessity of Film Canons. A lot of the essays contained in that volume have
The dimly lit rehearsal space is immediately disconcerting, draped in bubble wrap as a crime scene is draped in plastic sheeting, and populated with thuggish-looking characters. Above these figures, a television screen is streaming real-time images of them from another
Martin Crimp and Benedict Andrews have been flavours of the month for years. For fans of one or the other, new work by either is eagerly anticipated as a special treat. For fans of both, new work by the former