theatre

theatre March 9, 2019

Ellen Burstyn variations

Ellen Burstyn, in Melbourne to star onstage in 33 Variations, has a film career spanning six decades and including such cinematic touchstones as The Exorcist and The Last Picture Show. She talks tabout Beethoven, spirituality and recruiting Scorsese to direct her in Alice Doesn’t Live Here Anymore. “I asked that he be the director. He had already made Mean Streets, but it hadn’t been released and he was deeply grateful that I wanted him. This doesn’t mean that I gave him his start. And there was no stopping him, anyway – he would have got there in any case. But, you know, there was never any sense with Marty of working with a monster, with a master in the nasty sense. He’s marvellous, he’s an original. He’s smart and fiery and rough and excitable and alive.”

theatre March 2, 2019

Harry Potter and the Cursed Child

Harry Potter and the Cursed Child succeeds in furthering J. K. Rowling’s remarkable canon, with a greater dramatic thrust than the films but all the heart of the books that seduced young and old alike.

theatre February 9, 2019

Antony and Cleopatra

The National Theatre’s modern, militarised take on Antony and Cleopatra – ‘the greatest of Shakespeare’s history plays’ – offers a flat production but fine performances from Ralph Fiennes and Sophie Okonedo.

theatre February 16, 2019

STC’s Mary Stuart

Kate Mulvany’s adaptation of Mary Stuart shares with the recent film starring Saoirse Ronan and Margot Robbie a desire to portray rival monarchs Mary and Elizabeth I as sisters pitted against each other by the patriarchy.

opera February 2, 2019

Where’s home for theatre and opera director Barrie Kosky?

Barrie Kosky’s peripatetic career has led him to work throughout Australia and Europe, before finally establishing a true connection with Berlin. Still, for the Melbourne-born theatre and opera director, nothing says “home” like a rehearsal room. “It just happened that theatre discovered me, and performance and music discovered me, because the very same time that I started to think, ‘Who am I? How does this relate to me?’ and felt that disconnectedness, was the very same time I was experiencing music: Mahler symphonies or puppet shows or musicals or opera. And it was very linked.”

theatre December 8, 2018

MTC’s Twelfth Night

Simon Phillips’ MTC production of Shakespeare’s Twelfth Night may lack a little of the comedy’s melancholy, but in Tamsin Carroll and Richard Piper it has performances as good as seen anywhere.

theatre November 17, 2018

STC’s A Cheery Soul

STC’s production of Patrick White’s darkly comic A Cheery Soul shows that the story of ‘monstrous’ nursing home resident Miss Docker is a still-relevant examination of the loss of agency in old age.

theatre November 9, 2018

Astroman and Krapp’s Last Tape

MTC’s childish ’80s romp Astroman – unsuccessfully transplanted from New Zealand to Geelong – is unlikely to appeal even to schoolkids, but more adult audiences will revel in Max Gillies’ masterful turn in Beckett’s Krapp’s Last Tape.

theatre October 13, 2018

Barry McGovern’s Watt

Barry McGovern’s one-man adaptation of Samuel Beckett’s novel Watt is a masterpiece of poignant, pratfalling absurdity

theatre September 15, 2018

The Harp in the South

Kate Mulvany’s adaptation of Ruth Park’s still-resonant The Harp in the South trilogy for the STC boasts perfect casting for its darkly comic tale of gentrification and community.

dance September 1, 2018

Bangarra’s Stephen Page on the language of dance

Stephen Page has known acclaim and accolades as head of Bangarra Dance Theatre. Off stage he’s had more than his fair share of personal tragedy. Here, he talks to about family, his latest show, Dark Emu, and the power of language to change Australia. “Through this symbolism of visual art and story, under that came this kinship idea of connection to land, people and story. That’s why lore and customs exist.”