Issue 62

April 2013

Contents

Old Works Revisited

The Calculus of Risk: Rex Cramphorn’s 1988 Measure for Measure
IAN MAXWELL

Australian Theatrical Modernism and Modernity: Patrick White’s Season at Sarsaparilla
DENISE VARNEY

Theatre in New Zealand

We Are Amused: Theatre Comes to Dunedin, December 1861 – April 1862
LISA WARRINGTON

‘Kind of Like an Evil Version of Our Accent’: Imagining National Identity in Performances of Trans-Tasman Rivalry
NICOLA HYLAND

Reflections on Theatre and Performance in the (post-) Earthquake Zone
SHARON MAZER, VICTOR RODGER, SIMON TROON, RYAN REYNOLDS, A DIFFERENT LIGHT, EMMA WILLIS and GEORGE PARKER

Mining and Creating Archives

Making Maps ‘Speak’: e-Mapping Performance on Western Australia’s Coolgardie Goldfield, 1894–98
BILL DUNSTONE and HELENA GREHAN

Discovering Lost Voices: The British Drama League Archive and Amateur Dramatic Societies in New South Wales Regional Communities
JANET McGAW

Mapping Tangible and Intangible Cultural Heritage: The Splinters Archive Project
GAVIN FINDLAY

Dramaturgies and Adaptations

How Faithful Can You Be? Let Me Count the Ways: The Adaptation of Red Cap
JANIS BALODIS

From Shakespeare to the Super Bowl: Theatre and Global Liveness
EDDIE PATERSON and LARA STEVENS

Direct Address as Action and Effect in Bare Witness and Beyond the Neck
NOEL MALONEY

Old Stories, New Forms

Spending Two Weeks ‘Mucking Around’: Discourse, Practice and Experience during version 1.0’s Devising Process
KATE ROSSMANITH

Circus in the Cemetery: Transforming Space and Unearthing Memory in Vulcana Women’s Circus Performance, Grave Effects of Notable Women
NATALIE LAZAROO

Reviews

Haruru Mai and Strange Resting Places
HILARY HALBA

Urbanesia: Four Pasifika Plays
LISA WARRINGTON

Lena Ashwell: Actress, Patriot, Pioneer
VICTOR EMELJANOW

An Actress Prepares: Women and ‘the Method’
KATE HUNTER

Musical Theatre Auditions and Casting: A Performer’s Guide
NEIL RUTHERFORD