The Weekend Australian - Review - - Arts -

ADE­LAIDE The­atre: Ar­chitek­tin, writ­ten by Weimer maven Robyn Archer, is the story of Ger­man ar­chi­tect- de­signer Mar­garete Schutte Li­hot­sky, who be­gan work in the 1920s. Di­rec­tor Adam Cook has gath­ered a strong team for this hand­some pro­duc­tion, with Ksenja Lo­gos vi­va­cious and as­sured as the young Mar­garete, and He­len Morse re­flec­tive and sar­donic as the older Mar­garete. They carry the play when its nar­ra­tive weight is heavy, critic Mur­ray Bramwell writes. Dun­stan Play­house, Ade­laide Fes­ti­val Cen­tre, un­til Septem­ber 20. Book­ings: 131 246.

BRIS­BANE The­atre: Peter Houghton’s satire The Pitch has had suc­cess­ful sea­sons in Lon­don and Ed­in­burgh and is tour­ing na­tion­ally. Wal­ter Wein­er­man, an as­pir­ing Aus­tralian screen­writer in Hol­ly­wood, prac­tises pitch­ing his film con­cept to an in­dus­try panel. Pan­ic­stricken and des­per­ate, Wal­ter demon­strates the roles that he hopes will be played by A- lis­ters in­clud­ing Clint East­wood and Cather­ine Zeta- Jones. Bris­bane Pow­er­house, Septem­ber 16- 20. Book­ings: ( 07) 3358 8600.

MEL­BOURNE The­atre: In Joanna Mur­ray- Smith’s new work Ninety , Iso­bel ( Melinda Bu­tel) begs 90 min­utes from her for­mer hus­band William ( Kim Gyn­gell) be­fore he flies off to Paris to marry again. Dur­ing that time they re­live the highs and bit­ter lows of their re­la­tion­ship. Is this an af­fir­ma­tion of mar­riage or an un­re­lievedly bleak por­trayal of a con­tem­po­rary re­la­tion­ship? Di­rec­tor Si­mon Phillips gives an el­e­gant pro­duc­tion in the round, with strong per­for­mances from both ac­tors, critic Ali­son Croggon writes. Arts Cen­tre, un­til Oc­to­ber 4. Book­ings: 1300 723 038.

PERTH Vis­ual art: Joel Gailer’s Hot Process, a printed page in the mag­a­zine Art Al­manac, is this year’s winning en­try at the Fre­man­tle Print Award. Gailer’s work is the an­tithe­sis of the tech­ni­cally per­fect lim­ited- edi­tion print. The artist chal­lenges all the as­sump­tions about own­er­ship, copy­right, ex­clu­siv­ity and tech­ni­cal ex­per­tise. An au­da­cious choice by the judges, it will un­doubt­edly raise the ire of many prac­ti­tion­ers, critic Ted Snell writes. Fre­man­tle Arts Cen­tre, un­til Oc­to­ber 5. In­quiries: ( 08) 9432 9555.

SYD­NEY Vis­ual art: Games of Con­se­quence is an ex­hi­bi­tion from Mel­bourne- based pho­tog­ra­pher Polix­eni Pa­pa­petrou, re­call­ing the spon­tane­ity and free­dom of her child­hood. She feels chil­dren have had their lib­erty and ex­po­sure to the world di­min­ished, per­haps by the lure of tele­vi­sion and parental anx­i­ety about safety. Pa­pa­petrou in­tro­duces what she calls the won­der­fully het­eroge­nous di­men­sions of child­hood, where fear and dan­ger mix with the an­gelic. Stills Gallery, un­til Septem­ber 27. In­quiries: ( 02) 9331 7775.

Child­hood lost: Dreams are Like Wa­ter ( 2008) by Polix­eni Pa­pa­petrou

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