World of lovers but a dream
WE can’t share the feelings of South Pacific’s first audiences but we can put ourselves into its geography and hear its plea for tolerance.
Stage
When all the world was a stage
THE theatre was the most influential public space in Elizabethan and Jacobean-era England.
Younger than springtime
DIRECTOR Bartlett Sher finds plenty of contemporary resonances in South Pacific.
The redoubtable ballet teacher
TANYA Pearson’s incredible life story is worthy of an opera.
Nothing wooden about Splinter’s star
SYDNEY Theatre Company has found a new way of not working with children or animals by having puppets step into the role of a child.
Actor who became accidental producer
TIM Lawson’s success as a theatre impresario is helping him to buy a flying car.
Broadway mourns a singular sensation
BROADWAY has paused to pay tribute to Marvin Hamlisch, the composer behind A Chorus Line, who died this week.
Musical race motifs chime with times
SOME enchanted evening, theatregoers will experience a not-so-distant era of war zones, racial intolerance and great music
Doyen of Ballet to hang up his shoes
IN many ways, the story of the Australian Ballet is the story of Colin Peasley, too.
Standing on shoulders of giants
ADAPTATION is the very engine of creativity, creating a new artistic truth from the original.
Flaws at the core of power play
HEAVEN’S vault should crack in a production of King Lear, be it a traditional King Lear or a gender-reassigned Queen Lear.
A story of race, headwear and healing
ALANA Valentine’s play Head Full of Love touches on the contentious issue of black-white relations with agility, sensitivity and courage.
Worldly wise
SIMON Callow is an inspired choice to headline next month’s Melbourne Writers Festival.
Queen Lear maddens the critics
IT was one of the most anticipated theatre events, but MTC’s Queen Lear, starring Robyn Nevin, has been savaged by the critics.
Distaff Lear ‘cheerless, dark and deadly’
IT’S difficult to find a kind word for this “cheerless, dark and deadly” production of Lear.
Channelling Moliere’s rapier wit
MOLIERE would surely have approved of Justin Fleming’s daring new version of The School for Wives.
Flair and style bring wooden boy home
WINDMILL Theatre, with State Theatre Company of SA, have given the Pinocchio stories some contemporary tweaking.
Cash flows as Cate looks to Lend Lease
IN what may seem an unlikely alliance, Cate Blanchett’s green-tinged Sydney Theatre Company has teamed up with property developer.
Water used as a metaphor
IN her latest work, Lisa Wilson joins performers Tim Ohl and Hsin-Ju Chiu on a stage flooded with water.
Duchess stripped back
THE text Bell Shakespeare is using for The Duchess of Malfi is a terrific distillation of John Webster’s thrilling 1612 play.
Original URL: https://www.theaustralian.com.au/arts/stage/page/200