Working with Words: Jean Tong
Writer and director Jean Tong on being devastated by Animorphs, hiding old fanfic and talking politics with H.P. Lovecraft's Cthulhu.
State of Play: Political Art in 2017
In Australia for a residency with the Melbourne Fringe, Forest Fringe co-directors Andy Field and Deborah Pearson discuss with host Emily Sexton the intersection of art and politics. Is art inherently political? When are artists seen as legitimate political commentators and when are they dismissed? And, in this politically heated moment in the UK, what do Field and Pearson want…
The Next Big Thing
Hot Desk Edition #3
At summer’s cusp, it’s not just the weather that’s getting warmer. As their residencies draw to a close – and their creative goals draw nearer (we hope!) – our latest gang of Hot Desk Fellows will dribble down to The Moat to share early excerpts and insights from their projects.
Join Ingrid Baring, Bobuq Sayed, Alexandra Collier, Jane Howard, Lorelei…
State of Play: Political Art in 2017
As co-directors of Forest Fringe, Andy Field and Deborah Pearson champion theatre that is daring, disorderly, DIY and often deeply weird. An experimental arts organisation that grew out of the Edinburgh Fringe Festival in 2007, Forest Fringe now produce 'microfestivals', hosts residencies and commissions new work around the world.
Wherever they go – and their work takes place in unlikely…
Working with Words: Angela Betzien
Angela Betzien is an award-winning playwright and screenwriter. Her plays, including Hoods, Helicopter and Where in the World is Frank Sparrow? have toured nationally and internationally. We caught up with Angela to talk genre, fairy tales and chewing raw carrots with Sunny Baudelaire.
The Wheeler Centre
Picnic at Hanging Rock
‘She felt herself choking and tore at her frilled lace collar. “Miranda!”’
Fainting spells, frilly collars, mystery, hysteria and a truly awesome backdrop – Joan Lindsay’s Picnic at Hanging Rock might be 50 years old this year, but it remains a point of Australian cultural obsession. The book – written by Lindsay in just four weeks back in 1967 – has inspired a film, a radio play, stage adaptations, fashion spreads, music videos and a new miniseries coming out this year.
Why do we keep coming back to Lindsay’s eerie tale of a Valentine’s Day school picnic gone wrong? Perhaps it’s the ambiguity around fact and fiction; perhaps it’s the striking combinations of imagery or maybe it’s the maddening obscurity of the ending.
At this celebration of Joan Lindsay’s iconic novel (and its enduring myth), Helen Withycombe hosts a conversation between Lindsay's biographer Janelle McCulloch, theatremaker Tom Wright (who adapted the play for Malthouse Theatre in 2016) and Helen Morse, who played the French teacher in Peter Weir's film version of the story.
They discuss the true story (and the mysticism) that inspired Lindsay, the book's refractions of nature and time, the troubling history of Hanging Rock itself and why Lindsay’s tale continues to haunt and provoke Australian storytellers today.
Left to right: Helen Withycombe, Janelle McCulloch, Tom Wright and Helen Morse — Photo: Jon TjhiaYou may also enjoy Podcast episode
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Anything and everything in Theatre from across our archives.
Hannie Rayson on the “Worst Election Campaign in History”
Click to watch video.
Playwright Hannie Rayson is over our politicians. “There’s something excessively enervating about opinion polls,” she argues as she sees our politicians becoming less about leading as they focus on focus groups and soundbites. She wants more inspiration and more “saying what matters” that she’s seen in the arts.
As the Victorian state election approaches, Rayson reckons “We need the arts…
Unhappy Ending for The Mousetrap
The Independent reports that Agatha Christie’s heirs are dragging Wikipedia to court for the online encyclopedia’s spoilers that give away the plot twists and ending of the 1952 mystery play.
Wikipedia’s entry for the play features a section called Identity of the Murderer which explains that “audiences are asked not to reveal the identity of the killer to anyone outside the theatre, to ensure…
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