Louis Nowra’s much-loved play Così is often held up as the archetypal great Australian comedy, a larrikin farce in the vein of Michael Frayn’s Noises Off (1982). But as the years roll by and the play’s sensitivities diverge from contemporary standards, it increasingly seems to share more in common with Shakespeare’s ‘problem plays’. Since its première at Belvoir St Theatre in 1992, ... (read more)
Maxim Boon is an arts and culture writer and editor based in Melbourne. He is the Senior Group Editor and National Arts Editor of Street Press magazine The Music, and formerly the Online Editor of Limelight Magazine. He is the new classical music critic for The Age. Maxim also writes extensively about the LGBTQ community, queer culture, and politics.
ABR Arts • 18 March 2019
The plays of William Shakespeare have the dubious honour of being the most reinvented, reimagined, dressed-up, dumbed-down, and generally meddled-with works ever staged. To a less prolific extent, the same is true of the Classical canon of ancient Greece. In unskilled hands, countless injustices have been inflicted on these texts by pretentious or gimmicky interpretations. And yet, with a theatre- ... (read more)
Bottomless is an apt title for Dan Lee’s multifarious study of addiction, redemption, and the ever present schisms that echo from the past. Its sharply crafted and occasionally brilliant dialogue underscores a narrative grappling with cultural and emotional complexities of unplumbed depth. With little more than a brisk hour to explore them, it’s also a play that feels frustratingly unmoored to ... (read more)