★★★★ Cameron Woodhead Thursday 12 December 2020 Simon Stephens’ study of adolescence takes us into a Manchester grammar school, where seven students wait for their final exams. We get a fly-on-the-wall portrayal of teenagers in their natural habitat – a…
Cameron Woodhead August 7, 2019 — 2.11pm ★★★★ A cabaret set amid the horror and deprivation of Jewish ghettoes in World War II? You’d have to be crazy. Totally meshugah. Yet Galit Klas has created one of the most…
Wednesday, 24 July 2019 Lisa Gorton ★★★★ In this intelligent and unusual play, director Peta Hanrahan arranges Virginia Woolf’s great essay A Room of One’s Own into an hour-long play for four voices. Curiously, perhaps, it works so well as…
Monday 17 June Cameron Woodhead ★★★ Highbrow types won’t need reminding that Sunday was Bloomsday. Named after the central character in James Joyce’s Ulysses, it’s the date on which that towering monument of modernist fiction was set, and it has…
Saturday 8 June Alison Croggon Love and Shit, an exhilarating double bill by Patricia Cornelius at fortyfivedownstairs, expose the uncomfortable realities of Australia’s underclass. In doing so, these plays remind us how vital theatre can be. Sometimes, I really do…
Chris Boyd The Australian April 20, 2016 Here’s a production to rescue The Merry Wives of Windsor from the remainder pile of Shakespearean history. If you know the plot at all, chances are you picked it up from Verdi’s last…
See article in its original context here.
Tennessee Williams is best known for a string of classic plays, such as Cat On A Hot Tin Roof, A Streetcar Named Desire and The Glass Menagerie that form part of a golden thread of twentieth century American drama.
Yet it is a lesser known work of Williams’, Vieux Carré, begun in the 1930s and not completed for more than 40 years, that will feature on the Melbourne stage from next week.
Opening on January 17, ITCH productions presents the Australian premiere of Vieux Carré – an exploration of interlinking themes, as always with Williams, of sex, art, creativity, anguish and social constraints that limit that very exploration.
Forming part of Midsumma 2013, the performance opens the year for fortyfivedownstairs with a humorous and very personal work, a ‘memory play’ that follows the period of artistic, social and sexual discovery of the young American.
See the article in its original context here.
ITCH Productions presents the Australian premiere of Vieux Carré by Tennessee Williams as a Midsumma 2013 premier event at fortyfivedownstairs. It is a rich and haunting drama set in Williams’ favourite backdrop – the French Quarter of New Orleans.
This is one of Williams’ lesser known plays which he began writing in 1938 but did not complete until nearly 40 years later. It is largely autobiographical and may be described as the beginning of Williams’ exploration of self as well as his development of mood, melodrama and ‘memory play’ technique which were to become his trademark in later, more recognizable works.
Review by Alison Croggon for Theatre Notes on 14 October. See here in it’s full context.
La beauté, “Beauty is difficult, Yeats” said Aubrey Beardsley
when Yeats asked why he drew horrors
or at least not Burne-Jones
and Beardsley knew he was dying and had to
make his hit quickly
Hence no more B-J in his product.
So very difficult, Yeats, beauty so difficult.
– Ezra Pound, Cantos
I left Whiteley’s Incredible Blue last night with Pound’s verse circling around my head. Barry Dickins’s new play, subtitled “an hallucination”, is almost an essay on the proposition of the difficulty and necessity of beauty, through the medium of the enfant terrible of Australian art, Brett Whiteley.
Review by Kate Herbert for The Herald Sun, October 14. See it in it's original context here. BRETT Whiteley, one of Australia's great painters, was a tortured artist - a self-indulgent, free spirit and heroin addict. In Barry Dickins' play,…