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Theatre
theatre reviews 
Silent Disco | Fairfax Studio, Melbourne
Silent Disco is an edgy, almost angry representation of modern teenage life, littered with sharp-witted wisecracks and the promise of potential, both in the script writer, set designer and the actors themselves, says Siobhan Argent.
Guy Rundle: Rundle: Williamson an island in his own write
David Williamson, again, really? How do we — by which I mean 19 people across the country, and all three million citizens of Melbourne — get so hung up on Australia’s most overstretched playwright?
Daily Proposition: Take the family to Sydney’s festival
While Snow On Mars isn’t The Wizard of Oz, it’s engaging, magical, well-played and accessible, writes Lloyd Bradford Syke.
2010 on stage: the best (and worst) from Melbourne
From Shakespeare to Mamet; centuries-old operas to brand-new local works. And in a year that saw independent producers and smaller shows shine, a brassy all-American musical was probably the best of the best. Jason Whittaker names his top picks from the Melbourne stage in 2010.
We think your theatre is great … we have to shut it down
Events leading up to the closure of new writer’s theatre MKA Richmond demonstrates the pitfalls of engaging in squabbles with petty officials over ambiguous building and planning laws, writes Andrew Fuhrmann.
The Greek tragedy of theatre
Aristotle’s Poetics is a theatre-lovers classic. But the book has many short comings which continue to affect how drama and theatre are realised even today, says Steve Waters.
Snubs and surprises at the Helpmanns … but is that such a scandal?
Cate Blanchett was snubbed! Not a complete surprise, granted, given she wasn’t even nominated. But still outrageous! Jason Whittaker reviews Australian theatre’s night of nights.
Theatre needs a true governing body to drive funding
Governments play a vital role in theatre funding, particularly in regional areas and for smaller theatre organisations. But how can the private sector be more involved? asks Troy Dodds.
From the tweet seats
You can’t even escape the Twitter at the theatre, with some festivals and theatres encouraging live tweeting of perfomances, much to the horror of traditionalists. What is the acceptable etiquette? asks Marcus Westbury.
We’re selling performers short by skimping on previews
A Broadway show will run preview performances for a month before opening itself up to critics. Australian shows are rushed to opening night, leaving unrehearsed performers exposed, says Les Solomon.
It’s just not critic(al)
As a form, the newspaper theatre review is not without its charm. But it is a problematic form, particularly since it is the priority of that review form to give judgement, writes Andrew Furhmann.
Should gay actors stay in the closet?
Newsweek has caused a minor storm with its essay by Ramin Setoodeh, who asked — not unreasonably — whether gay actors could play straight. It’s an ugly fight but maybe gay actors should keep the closet door locked, writes Jason Whittaker.
Bhutan: where theatre meets hip hop, maggots and Buddhism
Fregmonto reports from a theatre company in Bhutan, where performers insult each other and draw from their bipolar culture, mixing traditional dance with Disney, hip hop, salsa and Bollywood.
Daily Proposition: Fly high, the Fame-seeking kids are all right
They’re going to live forever (like the song embedded in your head, a tumour out of remission). They’re going to learn how to fly (high!). They feel it coming together. Fame is back.
Guy Rundle: Rundle on Craven: come, come, Peter, get with the program
Guy Rundle responds to Peter Craven’s critique of Godzone, a show he did recently with Max Gillies. Is he just jealous?
Daily Proposition: Witness an exorcism on stage
There’s a real live exorcism happening each night in Melbourne. And it’s as frightening and funny as you might expect. Furious Mattress — a new Australian play at the Malthouse Theatre — is a maddeningly uncomfortable experience.
Senate grilling has ABC ‘backing away from Keating!’
Keating! The Musical has been one of the most successful Australian shows of recent years. The ABC aired the entire production in 2008. So why is the broadcaster now ignoring its Tasmanian premiere?
Daily Proposition: Get thee to Adelaide for a feast of entertainment
People like to bash Adelaide. But if you can find a city with more to do in the next couple of weeks, I’d be surprised. Arts Festival. Writers’ Week. Fringe Festival. Womadelaide. It’s all happening.
Daily Proposition: See a writer try to unclog his block
Toy Symphony, a puzzling play from maligned Queensland Theatre Company boss Michael Gow, is dividing critics in Adelaide. Make up your own mind.
Daily Proposition: Get your diary out for a world of Hurt
Sometimes, to see the best things tonight, you have to plan. Otherwise organised people will end up sitting in your seats, which is terribly inconvenient. On today’s agenda: STC 2010. Starring William Hurt.
Sexism is a long way from a final bow in Oz theatre
On Sunday, a panel of critical women’s voices spoke of a “tsunami of discontent” that the Australian theatre industry in general is sewn up by male directors and writers, writes Steve Dow.
Creative roles for women hard to find in Australian theatre
Crikey’s tipster who last week expressed dismay at the lack of women programmed in Sydney’s Company B theatre season for 2010 was certainly not alone.
Talk of the foyer: snubbed playwright invited in from cold
It’s the worst-kept secret of the 2010 theatre season: Joanna Murray-Smith will finally get a show on at the Sydney Theatre Company after years in the wilderness.
Guy Rundle: The play’s the thing missing from the PEN anthology
The great, the good and my good friend Peter Craven have already weighed in on the issue of “progressive inclusion” of indigenous writing in the new Macquarie Australian lit anthology. But the omission of drama is the real scandal.
