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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
For every metaphor for the cinema – Godard’s goodwill for a meeting, Bazin’s window on the world, the cinema as a machine célibataire – one can usually think of at least a couple of metaphors for cinephilia. One of the more evocative
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
Towards the end of Scenic Highway, Evan Mather’s semi-autobiographical and wholly-heartfelt paean to Baton Rouge, LA, the viewer is instructed to “start at the State Capitol Building and head north eleven miles along Scenic Highway, past the chemical plants and
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
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