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Review: Queen Lear
For the first thirty seconds I thought we were in for something special in Queen Lear . Robyn Nevin in the titular role, regally costumed in...
The Last Post
Dear Readers As some of you will already know, I've decided to close down Theatre Notes. It's a decision that's been staring m...
Review: The Heretic
Because Richard Bean's play The Heretic is about climate change, it attracted the notice of hardline climate change denier Andrew Bolt ...
Review: Baal
Baal, pagan Lord of Heaven, god of rain and fertility. Baal, the first king of the Christian Hell, best known to us as Beelzebub. Milton'...
2020 Open Letter in Support of Bill Henson
I know it's been quiet on the blog the past couple of days. However, it has not been quiet at home: I've been putting together an Op...
"Sh*t self-righteous theatre bloggers say"
Update: Jana Perkovic weighs in at Guerilla Semiotics . Well worth the read. Update 2: The Guardian 's Noises Off rounds up the brouha...
Review: Special, Silent Disco
I wish I could adequately explain the irrational joy that The Rabble's latest work, Special , invoked in me when I saw it last week. The...
Black Medea
Black Medea by Wesley Enoch, directed by the writer. Designed by Christina Smith, lighting by Rachel Burke, sound design by Jethro Woodwar...
Review: Sleeping Beauty
Sleeping Beauty: This Is Not A Lullaby , directed by Michael Kantor. Devised Paul Jackson, Maryanne Lynch and Anna Tregloan. Scenario by Mar...
Review: Don Parties On
Every time David Williamson writes a new play, the Australian theatre world launches into one of its favourite games. It goes like this. The...
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