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“A man can die but once,” wrote Shakespeare, putting the words into the mouth of Frances Feeble, one of Sir John Falstaff’s hapless recruits in Henry IV, Part II. “We owe God a death.” Of course, some of us not only
A couple of years ago, for the briefest of moments, I was a bit of an expert on Simon Stone. Which is rather to say that, for the briefest of moments, I had arguably seen more of Stone’s work than
For a performer whose most famous turns have been as Alexander Downer and Shane Warne, The Threepenny Opera’s Macheath may not strike one as an appropriate follow-up. Unless one takes into consideration that this performer’s Downer was a fishnet-stockinged, show-stealing diva
The last six years of Federico García Lorca’s life were marked in equal part by passion and politics. The former of these had always been an important part of his life. The latter was somewhat newer to it, and would
Oscar Redding and Jonathan Auf Der Heide are adamant. The only social value of their work is as a useful corrective. “As far as mainstream content goes,” Redding says, “it seems that there’s a lot of thought Sexual drive is
Last year’s Tiny Stadiums Festival featured a site-specific work of note. Applespiel, a collective of former University of Wollongong students, took up residence in the Erskineville Town Hall and, over the course of twelve days, transformed a colourful cardboard miniature
Picasso would have loved Olwen Fouéré. With features that that fall somewhere between beautiful and handsome — think Joan Allen crossed with Terrence Stamp — the Irish-French actor exhibits all the qualities of one of the great modernist’s Weeping Women:
All pleasant break-ups are alike; each unpleasant break-up is unpleasant in its own way. Which is why the one at the heart of Sarah Enright and Simon Corfield’s Trapture is such a curious thing: by attempting to cover the unpleasant