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Shake ‘n’ Blake

Shake ‘n’ Blake - The Sonnets of Innocence and Experience. Blending the Good Works of Williams Shakespeare and Blake into a Lesson in Love in all its aspects.
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As One

One of the major works of American opera in the 21st century has its Australian premiere as part of the 2020 Midsumma Festival.
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The Age review of The Ghetto Cabaret

Cameron Woodhead August 7, 2019 — 2.11pm   ★★★★ A cabaret set amid the horror and deprivation of Jewish ghettoes in World War II? You’d have to be crazy. Totally meshugah. Yet Galit Klas has created one of the most…

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ABR review of A Room of One’s Own

Wednesday, 24 July 2019 Lisa Gorton ★★★★ In this intelligent and unusual play, director Peta Hanrahan arranges Virginia Woolf’s great essay A Room of One’s Own into an hour-long play for four voices. Curiously, perhaps, it works so well as…

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The Saturday Paper review of LOVE/SHIT

Saturday 8 June Alison Croggon Love and Shit, an exhilarating double bill by Patricia Cornelius at fortyfivedownstairs, expose the uncomfortable realities of Australia’s underclass. In doing so, these plays remind us how vital theatre can be.  Sometimes, I really do…

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BROKEN by Mary Anne Butler

The Victorian premiere of Mary Anne Butler’s poetic, evocative play. Winner of the Victorian Premier’s Literary Award for Drama, the Northern Territory Literary Award for Best Script and the Victorian Prize for Literature.
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The Melbourne Review on Vieux Carré

  • January 15, 2013
  • news

See article in its original context here.

Tennessee Williams is best known for a string of classic plays, such as Cat On A Hot Tin Roof, A Streetcar Named Desire and The Glass Menagerie that form part of a golden thread of twentieth century American drama.

Yet it is a lesser known work of Williams’, Vieux Carré, begun in the 1930s and not completed for more than 40 years, that will feature on the Melbourne stage from next week.

Opening on January 17, ITCH productions presents the Australian premiere of Vieux Carré – an exploration of interlinking themes, as always with Williams, of sex, art, creativity, anguish and social constraints that limit that very exploration.

Forming part of Midsumma 2013, the performance opens the year for fortyfivedownstairs with a humorous and very personal work, a ‘memory play’ that follows the period of artistic, social and sexual discovery of the young American.

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Theatre People rave about Vieux Carré

  • January 15, 2013
  • news

See the article in its original context here.

ITCH Productions presents the Australian premiere of Vieux Carré by Tennessee Williams as a Midsumma 2013 premier event at fortyfivedownstairs. It is a rich and haunting drama set in  Williams’ favourite backdrop – the French Quarter of New Orleans.

This is one of Williams’ lesser known plays which he began writing in 1938 but did not complete until nearly 40 years later. It is largely autobiographical  and may be described as the beginning of Williams’ exploration of self as well as his development of mood, melodrama and ‘memory play’ technique which were to become his trademark in later, more recognizable works.

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Theatre Notes review: Whiteley's Incredible Blue

  • October 15, 2011
  • news

Review by Alison Croggon for Theatre Notes on 14 October. See here in it’s full context.

 

 

 

 

 

 

 

 

 

 

 

 

La beauté, “Beauty is difficult, Yeats” said Aubrey Beardsley
when Yeats asked why he drew horrors
or at least not Burne-Jones
and Beardsley knew he was dying and had to
make his hit quickly

Hence no more B-J in his product.

So very difficult, Yeats, beauty so difficult.

Ezra Pound, Cantos

I left Whiteley’s Incredible Blue last night with Pound’s verse circling around my head. Barry Dickins’s new play, subtitled “an hallucination”, is almost an essay on the proposition of the difficulty and necessity of beauty, through the medium of the enfant terrible of Australian art, Brett Whiteley.

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Herald Sun review: Whiteley's Incredible Blue

  • October 14, 2011
  • news

Review by Kate Herbert for The Herald Sun, October 14. See it in it's original context here. BRETT Whiteley, one of Australia's great painters, was a tortured artist - a self-indulgent, free spirit and heroin addict. In Barry Dickins' play,…

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The Dollhouse

Nora and Torvald are cashed up and climbing: bespoke warehouse conversion, perfect children, and a shiny new job at a major bank for Torvald. Everything that Nora could want is due for Christmas. A classic play masterfully transposed to contemporary…

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Burlesque Hour Loves Melbourne review and interview with Beat Magazine

Interview and review by Christina Amphlett for Beat Magazine, see it in it’s full context here.

 

 

 

 

 

 

 

 

 

Forget those tired old burlesque dancers swooning on stage, all dolled up in sequins and feathers galore. The Burlesque Hour brings a far more surreal experience to the table, startling and exciting audiences through a rather whacky method of seduction. Feathers and all.

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The Haunting of Daniel Gartrell

Under an ochre sky something happened at Mt. Ragged. The incident inspired celebrated bush poet Daniel Gartrell’s (John Wood) most analysed piece of verse ... a poem that’s final verse has never been published. Now an enigma, Gartrell lives as…

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Urban Display Suite

Urban Display Suite is a deliciously malicious musical satire on our national obsession with the property market. With Melbourne houses the most overvalued in the world, our city is awash with tandoori tanned real estate agents, tasteless architecture and boring…

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Laneway Magazine: My Name is Rachel Corrie

This review of My Name is Rachel Corrie was written by Jeremy Williams for Laneway Magazine on 11 November 2010. See it in its original context here.

My Name is Rachel Corrie
fortyfivedownstairs
November 4 – 14, 2010

For those who have followed the ongoing Israel-Palestine conflict the name Rachel Corrie may well ring a bell, for others the name will be as meaningless as Joe Bloggs and Paula Brown. However, this one-woman production compiled by Alan Rickman (of Harry Potter fame) and Katharine Viner (deputy editor of The Guardian) is ensuring that Corrie’s legacy is not forgotten. On January 22nd 2003, the 23 year old American student flew to Israel to work as a volunteer for International Solidarity Movement, the pacifist Palestinian protest organisation. Less than two months later, Corrie was killed in the name of her cause when an Israeli bulldozer crushed her to death as she defended a Palestinian home.

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My name is Rachel Corrie in The Age

This article about My Name is Rachel Corrie was written by Liza Power and published in The Age on Saturday 30 October 2010. See it in its original context here. An idealistic life remembered Liza Power October 30, 2010 Image:…

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Review: Carnival of Mysteries on Oz Baby Boomers

This review of Carnival of Mysteries was written by Christine Hill and published on Oz Baby Boomers on Saturday 16 October 2010. See it in its original context here.

The Carnival of Mysteries, created and directed by Moira Finucane & Jackie Smith

fortyfivedownstairs, Melbourne | Until 30 October

Step right up folks. Be amazed, be surprised, be thoroughly entertained by this extraordinary spectacle, created and directed by Moira Finucane and Jackie Smith, and brought to you by the Melbourne International Arts Festival and fortyfive downstairs.

Finucane and Smith’s trademark mix of provocation and entertainment starts in the theatre lobby where, on arrival, everyone is rubber stamped, issued a ‘passport’, and given 30,000 carnival dollars. A suitably sleazy spruiker (David Pidd) explains the rules to the bemused but eager audience-in-waiting before we troop down the stairs to enter the world of the Carnival.

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Review: Bare Witness on Trip the Light Fantastick

This review of Bare Witness was written by David Maney for Trip the Light Fantastick. See it in its original context here.

I was always susceptible to liking Mari Lourey’s new play, Bare Witness. What with an interest in areas of conflict; that I’d just re-read Hare & Brent’s Pravda and an equally scathing depiction of journalism in a friend’s new play that is the glorious bastard child of Hare, Brent, Stoppard and Beckett; I was almost certain to be provoked. But where BW differs is that its focus is the corruption of the image, not words. Whereas the latter can be nimble and conjure the trick of “truth” in front of eyes — hearing how it’s done behind the by-line would deflate anyone insistent on objectivity — an image is supposed to be bare A camera is a witness, a machine that doesn’t need to decipher right from wrong. But this is not true either.


Photo by Marg Horwell

The camera makes everyone a tourist in other people’s reality, and eventually in one’s own. – Susan Sontag

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