March 4 , 2013
Adelaide Festival
Theatre
The Kreutzer Sonata
Based on the Novella by Leo Tolstoy
Adaptation by Sue Smith
State Theatre Company.
The State Theatre Company Scenic Workshop,
Adelaide Festival Centre.
March 2. Tickets $ 25 – $ 65
Bookings : BASS 131 246 or adelaidefestival.com.au
Until March 17.
The first night of a new play is always a high pressure event. The first night of a featured work in an arts festival, even more so. When it …
Continue Reading Back to topMarch 3 , 2013
Adelaide Festival
Theatre
Thursday
by Bryony Lavery
Brink Productions
and the English Touring Theatre
Norwood Town Hall, The Parade, Norwood
February 28. Tickets $ 30 – $ 59
Bookings : BASS 131 246 or adelaidefestival.com.au
Until March 16.
“This is a play, not a documentary,” Bryony Lavery writes in the program notes for Thursday, “ It is a theatrical response and offering to an enormous human event.” The event was on Thursday, July 7, 2005 …
Continue Reading Back to topMarch 3 , 2013
Adelaide Festival
Theatre
One Man, Two Guvnors
by Richard Bean
Based on The Servant of Two Masters
by Carlo Goldoni
with songs by Grant Olding
National Theatre of Great Britain
Her Majesty’s Theatre, Adelaide
March 1. Tickets $ 30 – $ 109
Bookings : BASS 131 246 or adelaidefestival.com.au
Until March 9.
Sydney Theatre Company season
March 30 –May 11.
Melbourne Theatre Company season
May 17- June 22.
From the moment The Craze, a young skiffle …
Continue Reading Back to topWOMADelaide 2013
Preview
Murray Bramwell
The line-up for this year’s WOMAD in Botanic Park has been announced and the anticipation begins. It is a big list – with three days and four nights to cover – and there is the usual mix of familiar names and those never-heard-of-till-now- performers who will doubtless join the 20 year list of artists who, once seen and heard, are never forgotten. Names like Youssou N’Dour, Sheila Chandra, Toumani Diabate, Afro Celt Sound System, L. …
Continue Reading Back to topLive performance is, by nature, ephemeral and, too quickly, excellent productions and outstanding performances drift into imperfect recollection and hearsay.
I want to thank all the companies and creatives who have invited me to performances in 2012 and to acknowledge your commitment and achievement.
It is always hard to create good work and these are especially difficult times in which to operate.
So much entertainment is now corporatized and commodified and the capacity and inclination of many audiences to engage …
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