Jacqueline "Rock" Bublitz is a Melbourne-based writer who saw a local production of Annie aged 5, and was never quite the same. Since that first transformative experience, she has been lucky enough to experience musical theatre all over the world. Many of her favourite productions have played right on her doorstep here in Melbourne, and she loves this about her creative home town. In addition to a day job in media, Rock has just completed her first novel, 'The Memory of Stars'. She also blogs about life and love at www.bodyremember.com (where she shamelessly mines the world of musical theatre for inspiration!).
What do you do about everything? It's a question asked of Alicia by a twitchy guy at the start of “Sticky Content”, and it's also a question I'm asking myself now.
Liberal doses of silliness, some supreme Alicia exasperation, and the sublime sadness of the closing scene make 'Old Spice' a very good episode, but not a great one (in my opinion).
If Season 5 of THE GOOD WIFE had us say goodbye to the world we thought we lived in, Season 6 is the new world order - and good (Gloria) God, after three episodes, it just keeps getting better!
Did y'hear the story of the Johnstone Twins? With BLOOD BROTHERS coming to Sydney in February 2015, BroadwayWorld talks to the cast and creative team about this intimate new production of one of the greatest musicals of our time.
From classic musicals like CHICAGO, and THE KING AND I, to newer works, including WILD PARTY and the original Australian production, DREAMSONG, Gibb has played lead roles across a wide range of musical theatre genres - and now she's adding horror to the list in CARRIE the MUSICAL.
As we get ready for the season 6 premiere of THE GOOD WIFE, we take a look at where we left our gang of lawyers and political players last season, and speculate on where they might be heading next (caution - mild SPOILERS and wishful thinking ahead).
Under the musical direction of Mathew Frank, Whelan-Browne lets Britney's songs reveal telling stories often lost within their pop/heavily auto-tuned original versions.
With design by Filipe Reynolds, the Circus Oz big top sets a scene that is equal parts boardwalk vaudeville, smoke-tinged jazz club, and old-school, sawdust in the ring traveling tent.