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The year was 1989 and young Australian jazz pianist David Bates was in Edinburgh. “The city was a kind of cultural mecca for a lot of Australian artists at the time,” the pianist turned entrepreneur recalls. “I first went there
Backstage at Sydney’s Belvoir St Theatre, David Woods and Jon Haynes have reached the end of their tether. The men behind Ridiculusmus, a British-based theatre company known for its anarchic theatrical experimentalism, are nearing the end of a month-long It
Earlier this year I was lucky enough to catch a nasty little production of Brecht and Weil’s The Threepenny Opera, which everyone else seemed to miss. For reasons of my own, it was my first encounter with the text: with
Critics have always been rather fond of saying that art enriches the soul and enlivens the mind. We are especially fond of saying so when the art we love comes under attack: when the commentariat starts baying for the blood
Tommy Murphy is a writer who likes his work to have a life of its own. “Playwrights shouldn’t know how their plays operate,” he muses. “Not completely.” Murphy, 29, has rapidly emerged as an accomplished dramatist. Nevertheless, a specialized video
Was I being a contrarian for the sake of contrariness? One of my companions, the short one, said I was. The other, the handsome devil with the ponytail, was not so sure. The three of us had just endured The
Based as it is on Agamemnon, the first part of Aeschylus’s Oresteia, Tom Holloway’s Don’t Say the Words has a certain timeless quality to it. The motivations of its characters spring eternal: the soldier, his wife and her The victim also
Tom Holloway’s Don’t Say the Words and Debbie Tucker Green’s Stoning Mary belong to that increasingly popular genre of dystopic, post-Western civilization ‘what-if?’s. What if Africa’s AIDS epidemic reached Britain and our children were drafted as rebel soldiers? What if