Eleven years, 70 friends and $60,000 later, the screwball-meets-noir-meets art world feature ‘The Big Kitty’ wraps

Film, News & Commentary, Screen |

You’ve heard apocryphal stories about people making movies on their maxed-out credit cards, but this remarkable story of bringing a full-length feature film on a shoestring to fruition is not fiction. On a sudden whim, Melbourne visual artist Tom Alberts decided in 2008 to make a film that celebrated the kind of screwball comedies and

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The Bacchae theatre review (La Mama, Melbourne)

Reviews, Stage, Theatre |

Rob Reid’s production of The Bacchae (a co-production of Melbourne’s La Mama, and Monash University Student Theatre) at the La Mama Courthouse last month was epic, writes Toby Manderson-Galvin… It was a production,”the likes of which has not appeared in Melbourne, at the very least, in the past couple of decades – but truly, I dare

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Orchestrated mid-winter yearning brings music of Cave and Ellis from screen to stage

Nick Cave and Warren Ellis
Film, Live, Music, News & Commentary, Reviews |

Subtle notes of angst, despair and deep yearning defined a powerful union of the work of musicians Nick Cave and Warren Ellis with the Melbourne Symphony Orchestra in several shows at Hamer Hall at the weekend. The unique pairing showcased six of Cave and Ellis’s notable film scores as part of the Melbourne International Film Festival,

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L’Appartement theatre review (QPAC, Brisbane)

Reviews, Stage, Theatre |

Australian theatre lovers would understandably get excited if a play’s title has the bonus of “written and directed by Joanna Murray-Smith” attached to it, so you go into this production with hopes high. Commissioned by Queensland Theatre, the world premiere production at QPAC’s cosy Cremorne Theatre hits most of the right notes and definitely doesn’t

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Lord of the Flies review (Roslyn Packer Theatre, Sydney)

Lord of the Flies group
Reviews, Stage |

Lord Of The Flies seems to have been with us forever, from its ancient religious context to the idiom that transcends William Golding’s Nobel Prize-winning 1954 novel. And yet its stage incarnation, as adapted by British author and playwright Nigel Williams, is not much more than two decades old. Williams’ script is faithful and free-flowing,

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