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A class act: how Cate Blanchett saved STC

Cate Blanchett charmed a packed house in Sydney last night, as part of her interview with Anne Summers.

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The ripple of Australian art that radiates outwards (all the way to Crikey)

The arts is a living, breathing monster; roaring in our major cultural spaces and dingy laneways near you. Crikey is diving into the pond with the launch on Monday of Daily Review.

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The naked truth far less sexy than media furore at Flinders

When a student complained about being “forced” to appear naked on stage, all hell broke loose. Flinders University academic and theatremaker Julian Meyrick peels back the madness to find the truth.

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Theatre review: The Cherry Orchard, Southbank Theatre, Melbourne

Simon Stone’s adaptation of the Chekov classic ticks all the right boxes, writes Mark Pearce.

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Theatre review: Blue Man Group, Lyric Theatre, Sydney

The infamous performance troupe isn’t too cerebral, but that doesn’t mean it isn’t fun, writes Lloyd Bradford Syke

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Rupert the ‘insignificant hunchback’? Williamson on Murdoch’s cabaret

Australia’s most celebrated playwright has written a new work on the life of the country’s most famous son. David Williamson talks to Crikey about capturing the media mogul for the stage.

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What’s old is new again? The debate setting theatre on fire

There’s a fierce debate on the Australian stage over classic texts, original plays and the blurry line between the two. Theatremaker and La Boite artistic director David Berthold hopes it inspires better writing.

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Theatre review: Carmen — Mrs Macquaries Point, Sydney

It’s as good as Carmen can be, indoors or out. Opera Australia’s Sydney Harbour spectacle might not be pure, but it’s a visual feast and the performers are world-class, writes Lloyd Bradford Syke.

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Theatre review: Penelope — TheatreWorks, Melbourne

Irish playwright Enda Walsh wrestles Beckett, Joyce and Homer and comes out a little worse for wear in Red Stitch’s Penelope, says Sarah Braybrooke, despite some winning (near-naked) performances.

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Theatre review: The Addams Family — Capitol Theatre, Sydney

They’re creepy and they’re kooky, and the Australian players really dazzle. The Addams Family, a moderate hit on Broadway, arrives in Sydney in perfect working order, writes Lloyd Bradford Syke.

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Theatre review: Liberty Equality Fraternity — Ensemble Theatre, Sydney

Mother and Son writer Geoffrey Atherden goes over old ground for his new free-wheeling play on our scared contemporary society. But a terrific cast makes it seem fresh, says Lloyd Bradford Syke.

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Theatre review: Beautiful Thing — Reginald Theatre, Sydney

There are few dramas held more dearly to queer theatre-goers than Jonathan Harvey’s Beautiful Thing, which celebrates its 20th anniversary at this year’s Sydney Mardi Gras. Lloyd Bradford Syke was moved.

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Theatre review: Mrs Warren’s Profession — Wharf 1, Sydney

Sydney Theatre Company go back to the dusty pages of George Bernard Shaw’s work to find little-performed Mrs Warren’s Profession. It’s a witty, non-challenging escape.

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2012 Crikeys: the best in film, books, TV, theatre, music

What was the best film of 2012? The best TV show? The book you have to read, the video game you have to play, the album you have to download, the theatre you should have seen? Crikey picks the best.

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Theatre reviewer’s curtain call shows bare stage of criticism

Australia’s best blog devoted to theatre criticism has frozen in time. There are fewer opportunities for thoughtful arts criticism, robbing culture of important conversations.

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Stars lash ‘flawed’ Melbourne Uni theatre restructure

Staff and students are up in arms about a restructure at Melbourne University’s beloved Union House Theatre, where some of the country’s brightest names got their start.

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Two-speed performing arts sector drags down attendance

New data released by the Australia Council confirms stagnating audiences for the nation’s largest performing arts organisations. But companies say it’s not as bad as it looks.

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Australia Day — Drama Theatre, Sydney

Jonathan Biggins can cut through society like a knife. But his attempts to go deeper with Australia Day at Sydney Theatre Company might be lost in space, writes Lloyd Bradford Syke.

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With Cate gone, can hubby keep the dollars at STC?

Was the Sydney Theatre Company’s decision to re-appoint Andrew Upton driven by the sponsorship dollars his wife can attract? Ben Eltham looks at Australian theatre beyond Cate Blanchett.

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Why are our theatres empty of women?

Why are there so few women in Australian theatre? In this special Cup of Tea, Ben Eltham and Rebecca Harkins-Cross examine the gender bias that still pervades the Australian performing arts

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Putting bums on seats: new ways to sell old arts

The ultimate aim of arts companies is to put bums on seats. But the multi-media, multi-faceted strategy is an inexact science. Crikey speaks to arts marketers about the challenges of their jobs.

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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.

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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?

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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.

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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.

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