Borrowing time
Like Matthew over at Esoteric Rabbit, October was a rich month of performance spectating for me, but poor in time to respond to it. I've managed to go some way to addressing this during my brief sojourn in Bristol last month, posting some thoughts about my MIAF trip, but there are a great many works that I haven't had the mental space to address yet, largely a strong set of new works from Sydney artists. These include The Fondue Set's Evening Magic 2, Deborah Pollard's exquisite and evocative Blue Print, de Quincey Co's The Stirring, and some touring work I've seen since returning home, including Uncle Semolina and Friend's Gilgamesh and CICT's Sizwe Banzi is Dead. The brand new issue of RealTime is out, and the responses from Pauline Manley (Evening Magic 2), Bryoni Trezise (Blue Print) and Jodie McNeilly (The Stirring) are a strong reminder that I need to try harder to keep up.
Perhaps as an incentive to achieve this, I've been commissioned by RealTime to write about two interesting and very different shows, Powerhouse Youth Theatre's City Quest, and PACT Theatre's Lotophagi, each of which close Sunday 9th December. My thoughts on both works will be posted in early February.
And to keep up the New Year's resolution to do more and be better, I've got tickets to a range of Sydney Festival performances including Urban Theatre Project's The Last Highway, and The National Theatre of Scotland's Aalst and Blackwatch. Expect responses to those, and hopefully some of the rich dance program as well, by the end of January. While I do confess being not carried away with the Sydney Festival 2008 at its launch, I can admit that my enthusiasm is building.
As previously promised, over the next few ballet performances (we have a lot of stand by time in Nutcracker), I'll start posting my responses to video documentation of three Jerome Bel works viewed while in London last month. Perhaps, if inspiration hits, I'll write about the conference I was attending at Royal Holloway, and maybe even the National Theatre's Warhorse as well. For the visual art-minded amongst you, I thoroughly recommend a trip up to the Australian Centre for Photography to see the stunning exhibition Girl Parade, curated by Bec Dean. Too much in that exhibition to do justice to here, but suffice to say that you'll kick yourself for missing it. UPDATE: read the Sydney Morning Herald review of Girl Parade here.
In other news, after six months of waiting for the last examiner's report, the notes are in and the PhD is passed. Still a month or so of admin, acid-free paper printing, binding etc before doctor-hood officially begins, but I'm pleased to have finally reached the end of that five year tunnel.
Merry Christmas to all.
Perhaps as an incentive to achieve this, I've been commissioned by RealTime to write about two interesting and very different shows, Powerhouse Youth Theatre's City Quest, and PACT Theatre's Lotophagi, each of which close Sunday 9th December. My thoughts on both works will be posted in early February.
And to keep up the New Year's resolution to do more and be better, I've got tickets to a range of Sydney Festival performances including Urban Theatre Project's The Last Highway, and The National Theatre of Scotland's Aalst and Blackwatch. Expect responses to those, and hopefully some of the rich dance program as well, by the end of January. While I do confess being not carried away with the Sydney Festival 2008 at its launch, I can admit that my enthusiasm is building.
As previously promised, over the next few ballet performances (we have a lot of stand by time in Nutcracker), I'll start posting my responses to video documentation of three Jerome Bel works viewed while in London last month. Perhaps, if inspiration hits, I'll write about the conference I was attending at Royal Holloway, and maybe even the National Theatre's Warhorse as well. For the visual art-minded amongst you, I thoroughly recommend a trip up to the Australian Centre for Photography to see the stunning exhibition Girl Parade, curated by Bec Dean. Too much in that exhibition to do justice to here, but suffice to say that you'll kick yourself for missing it. UPDATE: read the Sydney Morning Herald review of Girl Parade here.
In other news, after six months of waiting for the last examiner's report, the notes are in and the PhD is passed. Still a month or so of admin, acid-free paper printing, binding etc before doctor-hood officially begins, but I'm pleased to have finally reached the end of that five year tunnel.
Merry Christmas to all.
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