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A rollicking near-cartoon of an opera, considered by many to be the definitive opera buffa, Gioacchino Rossini’s Il Barbiere di Siviglia is a kind of madcap prequel to Mozart’s La nozze di Figaro. While it lacks the genre-transcending resonance of
One of the things I enjoy most about my gig as a wannabe theatre critic is the sheer variety of shows I get exposed to. I’ve attended lavish, three-hour operas at the State Theatre; a post-theatrical installation at the Malthouse;
With its spectral bodies and sea of words, all floating about in the chiaroscuro of memory, Anna Tregloan’s Black is a difficult work to categorise. Part interpretative dance, part ambient soundscape, with more than a dash of installation art thrown
The new theatrical space at fortyfivedownstairs – which is even further downstairs than the old space used to be – is pregnant with ambiguity. It has been renovated, and its floorboards still have that mildly intoxicating smell of varnish to prove it,
A nettled thicket of social critique, violently funny and hysterically violent, the theatre of Eugène Ionesco is a theatre of modern entropy. His plays observe, with thinly veiled cynicism, the gradual but inevitable breakdown of man-made systems of rational order:
There’s a certain air of ambiguity inherent in the idea of the car. On the one hand, the car transports, opens up, makes possible: the car is a four-wheeled ticket to freedom. On the other hand, that of Neil LaBute’s
Six years ago, in the pages of this journal, former director of the Melbourne International Film Festival Geoff Gardner described the DVD distribution of Jean-Luc Godard’s films as both “spotty and, really, rather irrational”. He had a point, at least at
The image, framed and hung to catch the eye as one first enters the gallery, is a suitably characteristic one: dynamic in composition and tone, with an inky fluidity to its line, it seems at once both organic and futuristic,