Contents indexed selectively.
'Australian director Cate Shortland has made three feature films about young women who find themselves out of their depths. Her first, Somersault (2004), set in wintry Jindabyne, featured Abbie Cornish in an early and memorable role as a troubled teenage runaway. Lore (2012) was adapted from Rachel Seiffert’s Booker-shortlisted novel The Dark Room; its titular character, the daughter of Nazis, must lead her younger siblings on a difficult journey across Germany during the last days of World War II. Shortland’s new film, Berlin Syndrome, also takes places in Germany, as the title suggests, and is also adapted from a novel. But the setting is contemporary, and the plot concerns Clare (Teresa Palmer), an Australian tourist and photographer, whose chance meeting with a local man has awful consequences.' (Introduction)
'In 1980, Brett Whiteley completed his famous portrait of Patrick White, Patrick White at Centennial Park 1979–1980, disagreements over which caused a terminal rupture in the friendship between the two men. Of his intentions for the painting Whiteley said, ‘Could I make a vision of the feeling of his literature plus how he lived, and the complexity of him as a person, his humour, his bitchiness, his pronouncements?’' (Introduction)
'On display in the Queensland Art Gallery in Brisbane is a series of thirteen paintings by Vincent Namatjira, great-grandson of Albert, titled Albert’s Story. Each painting shows an important moment in the life of the seminal painter, who died in 1959. One shows him painting with his great friend and mentor Rex Battarbee; others show him visiting Sydney and Melbourne, meeting the queen, and, in 1957, becoming one of the first Aborigines to be granted citizenship.' (Introduction)
'On Monday night I attended a performance of the Australian Ballet’s The Sleeping Beauty where the audience gasped in wonder as the curtains parted on the final act: three massive chandeliers were lit then raised above a cream and gold confection of a set which put Versailles to shame. On Thursday night, I was at Muriel’s Wedding: The Musical where the sets and costumes are bright and garish, adding a satiric commentary of their own to the show’s cheerfully vulgar view of contemporary Australia. Gabriela Tylesova designed the sets and costumes for both productions – from Aurora’s wedding to Muriel’s wedding – with equal flair. The talent has gathered around Muriel’s Wedding.' (Introduction)
'Famous couples from literature – from Romeo and Juliet to Bridget Jones and Mark Darcy – have enacted storylines built around rituals of courtship and the obstacles they face on the way to marrying. While the ‘marriage plot’ has never gone out of fashion – kept alive, in good part, by Hollywood’s penchant for the rom-com – changing times have led to the emergence of the ‘divorce plot’. Nora and Torvald from Henrik Ibsen’s A Doll’s House – which enraged audiences when it premièred in 1879 because of its harsh critique of the ‘holy covenant’ of marriage – might be seen as the ur-couple of this growing genre.' (Introduction)
'After decades of English-language Chekhov productions following in the footsteps of Stanislavsky and Komisarjevsky in which historically accurately costumed actors wandered around a stage awash with gloom and torpor declaiming Constance Garnett’s constipated translations, directors finally discovered that the plays were strong enough to be removed from their original place and period. Janet Suzman’s magnificent Cherry Orchard (1997) transported the play to contemporary South Africa and Michael Blakemore, in his film Country Life (1994), showed that Uncle Vanya could work if it were transposed to Western Australia. Recently, Benedict Andrews’s modernised Three Sisters at the Young Vic (2012) was well received. Now the Sydney Theatre Company is presenting its own updated version. One is as unlikely to see a samovar in a contemporary Chekhov production as a horned helmet in a modern production of Wagner’s Ring.' (Introduction)
'Leaves of Grass, Walt Whitman’s humanistic, wheeling manifesto of the American destiny underpins Australian playwright Joanna Murray-Smith’s one-man play, American Song, and the collection of poems form the credo and frame the questioning of its central character, Andy. The poems’ exploration of a world of natural beauty, sensual delight, and the limitless possibilities of a young country imbue his optimistic take on life. With Whitmanesque wonder, Andy shares his tale of early good fortune in winning the trifecta of a gorgeous girl, an adorable baby son, and, after adventures in New York and a period as a caring house-husband looking after infant Robbie, a great job in their home town.' (Introduction)
'When this production of Henrik Ibsen’s most controversial play was programmed, no one could have guessed how pertinent it would appear in Australia at this moment. On the surface, this account of a bourgeois woman whose attempt to escape from a loveless marriage and a philandering husband is foiled by the Pastor she loved and the conventions of the times, who has to live a lie and finally deal with a beloved son who has inherited syphilis from his father, is of another era. After all, there is now at last understanding and help for those leaving an abusive marriage, and her son’s disease would easily be cured. But Ghosts is about more than these afflictions. The protagonist, Mrs Alving’s, speech to her nemesis, the hidebound, reactionary Pastor Manders, quoted above, is the core of the play. As Robert Brustein writes, Ibsen’s ‘underlying purpose was to demonstrate how a series of withered conventions, unthinkingly perpetuated, could result in the annihilation not only of a conventional family but, by extension, the whole modern world’.' (Introduction)
'Louis Nowra’s latest play, his first in ten years because apparently and appallingly no major company in Australia has asked him for one, is the third in his semi-autobiographical Lewis trilogy. In Summer of the Aliens (1992), the young Lewis, growing up in housing-commission Melbourne, has to find a way to come to terms with the unpredictable adults who surround him and to deal with his feelings for his coevals. Così (1992) finds a slightly older Lewis attempting to introduce Mozart into the lives of an even more extreme group in a mental hospital, while staggering through a dying relationship. In This Much Is True, a more mature Lewis, now a writer recuperating from a divorce, as much spectator as participant, hangs out in the bar of The Rising Sun, a Woolloomooloo pub not entirely dissimilar to The Old Fitzroy in which the play is being presented. This Much Is True can also be seen as the third piece in another Nowra trilogy, an addendum to his recent love letters to the neighbourhood; King’s Cross (2013) and Woolloomooloo (2017).' (Introduction)
'With unrelenting cheerfulness, bright orange lights shine on a simple set: a row of straight-backed chairs, a tall flower display, and a painting of an elderly woman, prominently displayed. Are we about to witness a funeral? Indeed we are. Slowly, painfully, the ambulant residents of Autumn Road Retirement Village, Caulfield, edge their way on to the stage. The chairs are now occupied. From the door into the corridor appears a wheel, then a hand fumbling for the entrance, heralding the arrival of the fifth resident, who whizzes triumphantly onstage in her electric buggy. Liraz (Sue Jones) has arrived.' (Introduction)
'There is something more than a little ersatz about Three Little Words, the latest play by Joanna Murray-Smith. It has all the usual parts, but it doesn’t feel like a real play.' (Introduction)
'Three women are staring into space. They are dazed, in shock, not yet believing that what has just happened has actually occurred. Beneath them is the body of a man, husband and father, whom they have just murdered. So begins the wild, darkly lyrical nightmare ride that is Australian playwright Angus Cerini’s The Bleeding Tree, which won several 2016 Helpmann Awards, including Best Play and Best Direction.' (Introduction)
'On a balmy night in Melbourne this week, large numbers of well-dressed women descended on the Regent Theatre for the opening night performance of Ladies in Black. The blockbuster production from Australian screenwriter writer Carolyn Burns and director Simon Phillips, with original music from singer–songwriter Tim Finn, attracted a cheerful audience that seemed to reflect the bright and bustling production on stage.' (Introduction)
'The theatre has given us mutilation, Titus Andronicus comes to mind, and cannibalism in Thyestes and Sweeney Todd, but as far as I am aware there is no dramatic genre based on organ donorship. After Tommy Murphy’s Mark Colvin’s Kidney, this may well change.' (Introduction)
'Away reached the dubious status of ‘Australian Classic’ in a remarkably short period of time. It has become so ubiquitous that I would hazard a guess that fully two thirds of the Australian audience for this production who are under thirty will have been involved with the play either as performers, audience, or students. In the keynote address (‘The Agony and the Agony’) at the National Play Festival that Michael Gow gave in July 2016, required reading for anyone interested in theatre, he describes his ambivalent feelings about having written a work that has become a perennial set text – a sure way of having the life drained out of it. He also says, ‘for me Away is a play about death. In fact it’s an AIDS play, though I didn’t know it at the time.’' (Introduction)
