Paulina is one of Shakespeare’s lesser known, but most vibrant and admirable mouthy women.
Arthur Miller’s The Crucible has meant so much to so many people. As a parable about state control, or without its political dimension, as an examination of the power dynamics within a closed society, or of an individual working through guilt to find something valuable in themselves. In fictionalising the lives of the real people involved, however, Miller raised Abigail’s age from eleven to seventeen. It may be time to think about his motives and the implications of the changes he made.
My first book is to be published later this year, and I am still not happy with the title. It is an academic text, but one I hope will have a broader appeal for people interested in the theatre, and the way women are presented on stage.
If, like me, you are interested in seeing more Aboriginal and Torres Strait Islander stories, you will be delighted to hear that the Belvoir Street Theatre’s collaboration with Big hARTto produce Namatjira has resulted in the best play I’ve seen for a long, long time.
What the internet means for the old-fashioned print critic is the end of institutional authority. That so many of these critics mistake institutional authority for critical authority says everything you need to know.
Rise, Sir Patrick Stewart. Farewell, Rue McLanahan. C’mon, Sam Stosur, c’mon.