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Still by Jen Silverman

Written by one of the hottest young playwrights from New York City, Jen Silverman’s award-winning play will make you laugh, cry and reflect, often all at the same time.
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RUNT

A play about the runts of the world: the lesser, the unwanted, the weak, those without clout, the insignificant; all the unders.
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The Anniversary

Multi award-winning creators of Die Roten Punkte, Clare Bartholomew and Daniel Tobias are back with a brand new murderously funny physical farce.
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Shake ‘n’ Blake

Shake ‘n’ Blake - The Sonnets of Innocence and Experience. Blending the Good Works of Williams Shakespeare and Blake into a Lesson in Love in all its aspects.
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As One

One of the major works of American opera in the 21st century has its Australian premiere as part of the 2020 Midsumma Festival.
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The Age review of Punk Rock

★★★★ 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…

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The Age review of The Ghetto Cabaret

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…

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ABR review of A Room of One’s Own

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…

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The Saturday Paper review of LOVE/SHIT

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…

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BROKEN by Mary Anne Butler

The Victorian premiere of Mary Anne Butler’s poetic, evocative play. Winner of the Victorian Premier’s Literary Award for Drama, the Northern Territory Literary Award for Best Script and the Victorian Prize for Literature.
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The Melbourne Review on Vieux Carré

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.

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Theatre People rave about Vieux Carré

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.

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Theatre Notes review: Whiteley's Incredible Blue

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.

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