It was a week of watching one man shows… Daniel Kitson, Tim Minchin and Charles Ross. A commonwealth of one man shows, it appears. There is something compelling about the one man format – which is most likely the intricate intimacy of hearing from one person for an hour or so. But despite this intimacy, there is something epic in the feat – for Minchin backed by the Sydney Symphony it is the scale of his wide reaching philosophical perspective, for Kitson profusion of letters which spanned 20 years and for Ross the gravitas, characters and grand narrative of The Lord of the Rings. Read more

Sometimes you need an irreverent night out. Where things are said, that are thought, but not generally acknowledged. Where it all is examined and no holds barred. By this, you could assume that really we live in a fairly oppressive or controlled state. Perhaps we do. But perhaps it’s more surreptitious than we think. Interestingly, freedom of speech has been socially tempered with the rise of being politically correct or even the preference for using euphemistic language in everyday communication. My favourite example of how much we are tempered by language is George Carlin’s piece on euphemistic language – Read more

For those trying to guess or track some sort of rhyme or reason to the theatre going habits of Augusta Supple – it could appear as compelling a question as where does the other go when it’s missing, or even how did even the most unpopular types of apples get so expensive? Read more

There is a thrill for me, in attending ATYP’s under the Wharf program – and it may seem like an obvious statement to make – but this is one of the most valuable programs showcasing emerging theatre makers in Sydney. Read more

The new Ross Mueller play at the Sydney Theatre Company has already nearly completely sold out, so rumour has it. And all I am going to say is BLOODY AWESOME! Read more

Henry Rollins is new to me – and I’m pretty sure I’m not even on his radar to I guess I’m so new I’m unknown to him. Unless he does read his email. Or Google himself. (Not in the Tracy Jordon/30 Rock sense.)

Less than a year ago I went along to see Henry Rollins on his Frequent Flyer Tour. For those that know me – have met me at least – you may ask why I’d be interested in hearing Henry Rollins. After all, isn’t he a loud mouthed American misogynist? And Gus, you don’t listen to punk music – except that Dead Kennedy’s album you borrowed from a friend – and that time in high school when you played bass in that band. Gus, you’re all about new Australian plays. Why are you reviewing an old punk rocker doing spoken word? What? What is this? What are you doing? What’s the appeal?

A couple of things. Read more

Ever engaging, ever provocative Currency House’s Platform papers are an invaluable source of information, encouragement, cultural dreaming and just the right amount of intellectual dissent – and Number 26 “Not Just an Audience- Young People Transforming Our Theatre” isn’t any different. Read more

It is indeed wonderful to see ATYP embracing not only new Australian writing, but new Australian writing during the pre-Mardi Gras hub-bub of the Mardi Gras festival is fantastic. Read more

I can’t help but support those who are brave enough to put their money where their mouth is – or their heart is -and produce their own show. Read more

Belvoir. No longer with the “St Theatre” tail, tagging behind. Like Madonna or Oprah. This company needs no explanation… it’s built it’s reputation – and now the new artistic directorate (complete with a shiny brand new literary manager Anthea Williams) – is busy defining it’s new direction. There’s a fresh coat of paint in the foyer – lollipop ice-cream parlor colours to offset the new flavours, the new taste (?) of the Belvoir pick’n’mix. There’s been an overhaul. The print program look different – all but one artistic associate from the old Neil Armfield family remains in the form of a new work associate… And I am very curious to see how the old guard respond to this shift in aesthetic. Read more