Jacqueline Bublitz - Page 2

Writer Tom Wright and director Matthew Lutton seem to have an acute awareness of their audience here, and what that audience brings to this picnic. This version is a retelling of the events that Valentine's Day in 1900, an explicit mythologising of them.

We were right there when the lights went off, when the skirt went up and the lights went down. We were right there - all the way - until the camera panned out and effectively told us to mind our own business while Alicia got down to hers.

I liked “Monday”. There was flirting. There were power struggles and double-crosses and creepy Government-y organisations doing the dirty work for corporations. Back at the firm we all know so well, we also got nods to elevators and the second floor, and a reminder that even the smartest people can have blind spots when it comes to diversity (Diane, stop it!). There were a lot of hints about what's going to happen next.

Welcome to Fab Friday at the Butterfly Club, your guaranteed salve for the soul. A night where you will grin, sing, clap and maybe even dance your way to a musical theatre state of mind. That's the place where you are what you are, you don't let gravity bring you down, and you remember you've always got another day, another destiny. It's the place where you become your very own 11 o'clock number - all with a wine in your hand!

Aussie musical theatre fans, David Harris has returned to Oz - but only for a flying visit! We get our homegrown leading man back to the Australian stage for two nights this weekend, when he joins Sutton Foster, Aaron Tveit, Betty Buckley, Joanna Ampil and Helen Dallimore in DEFYING GRAVITY - a world premiere concert celebrating the work of Stephen Schwartz. 

Oh, THE GOOD WIFE. I've loved you for so long. And now all signs are pointing to the end! After seven seasons, it might be time - but it's going to be hard saying goodbye to your clever, contradictory, resonant stories, and to the people who play them out so beautifully, like they did tonight.

If you've ever seen Meow Meow perform, you know she's going to tell you something about herself that will ultimately feel a little bit like your own revelation - and so it goes with MEOW MEOW'S LITTLE MERMAID, a tale she might book-end with an assertion about happiness, but fills with sadness, discomfort, desire, and nostalgia through every minute in between.

I feel like when it comes to 'Iowa', Alicia has finally kicked off her shoes. There is a shot of her slipper-clad feet, right before she takes a stack of plates and throws them at Eli's head, that makes me think about her being closer to the ground now, more real. The rage that comes after, the attacking Eli, and the sobbing in her bedroom, that's all so real, too.

I need a moment. I need six years worth of moments. I thought I'd be fine. I'd read the fan forums, seen the preview. Assumed it was going to be about that thing. That thing six years ago. And then it was about that thing. And my heart remembered all its damage, because you get wiser over the years, and six years might be a long amount of over, but you never really get over missed connections - not the ones that matter.

No matter how many episodes THE GOOD WIFE devotes to technology, there's always one more thing for me to think about. Tonight, 'Discovery' spends the hour addressing technology as both a reflector, and cultivator, of racism. Essentially - if what we are shown online is primarily a reflection of how we see ourselves, how responsible is technology for making us aware of our blind spots?

There will be some happy fans after tonight's episode of THE GOOD WIFE. No doubt there will be some unhappy ones too, given the subject matter - even if one of the show's rarely used viewer warnings was deployed in advance of 'Restraint'. The happiness will come from seeing Christine Baranksi get to own the hour, after a mostly Diane-lite start to the season.

There's just too much craziness in this world. So says Alicia Florrick tonight, and boy, ain't that the truth. Sometimes - unlike the real-life, tragic events of this past weekend - the craziness can be fun. Tilt-a-whirly. Unexpected and delirious. Like being on a ride someone else designed, so you just get to let go - and have fun. 

All is not well in THE GOOD WIFE universe, even with those Whitney-loving goats to help lighten things up. People are lying to each other, they are doubtful of who and what to trust, and they're unintendedly revealing a lot more than just their biases. And now the NSA is monitoring some of those revelations. Again. Hence the goats. And all the liar tapping.

Sometimes an episode of THE GOOD WIFE plays like a perfect day in bond court. That is to say, everything moves really quickly, and every resolution is neat - at least for one half of each equation. Tonight, loyal followers of THE GOOD WIFE, we got an episode Judge Schakowsky would be proud of.

I forgot how funny THE GOOD WIFE is. How quick, and how cheeky. This is a fun show. The hour goes really fast when you're enjoying all the side-eye/eye-rolls/grimaces that these characters dish out to each other, whether they're mother and daughter, nearly-friends, or scheming political partners.

We want to love THE GOOD WIFE. We're a bit like Chicago voters in that way. So the way I see it, as Eli and Ruth attempt to rehabilitate Alicia this season, they're really in the process of remaking the show itself. Getting it back on the right path. The one where we'd follow Alicia Florrick anywhere, because she's that damn good.

Broadway and screen stars, Sutton Foster and Aaron Tveit. Australia's first MISS SAIGON, Joanna Ampil. Beloved home grown talents, Helen Dallimore and David Harris. Oh, and the legendary Betty Buckley. You're not dreaming, Australian musical theatre fans! This is the stellar cast producer Enda Markey will bring to the Theatre Royal stage next February for DEFYING GRAVITY, a world-premiere concert celebrating the songs of Stephen Schwartz.

Alicia Florrick is back. Really back. And not just Season 7 premiere back, either. She's back to basics. Back to where she came from. Back to being the good, good wife. Kind of.

Guess what? I am excited for THE GOOD WIFE all over again. I don't want to be on a break anymore! In fact, I can't wait for the October 4th return of my 'old friend', and here are just a few of the reasons why Season 7 has brought me back around...

For most of the hour, I just wanted this episode to end. I was nervous that certain characters were going to leave (Finn. Yeah, I was nervous about Finn), and I wanted to know who was behind that door (Finn. Yeah I wanted it to be Finn). In addition to my suspicions about losing yet another actor I adore, I also have lingering finale trauma when it comes to this show.