Jacqueline Bublitz - Page 3

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. How do I recap an episode where nothing much happened action-wise, but at the same time everything that happened was so important, and so worth talking about?

When you enter the red zone, you have taken yourself beyond the limits of safety. You go to where things are dangerous, prohibited even. Or, to borrow from football, you find yourself in a situation where things could go any which way, where either side could score. Whichever definition you relate to, the red zone is not the securest place to find yourself, and certainly not a place you want to stay for long. Tonight, all of our characters are in that red zone, in one way or another ...

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).

Oh, THE GOOD WIFE. You beautiful, shiny, xylophone-sounding sunflower of a television show. You are the Ann Perkins to my Lesley Knope tonight (and if you don't get the reference, get thee to PARKS & RECREATION - right now!).

Alicia used to be a good wife. The kind who hosted parties, and served the right food, and made sure her guests were comfortable and catered to. At the very beginning of tonight's episode, we're reminded of this earlier, Highland Park Alicia. And then, with just a little “Oppo Research”, we're reminded of why that Alicia couldn't last …

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!

Okay, so I cried at the end. Not death-of-Will tears, or the sobs elicited when Alicia broke up with Gardner way back in Season 3, and I felt like it was happening to me. No, these were poignant tears, the trickle down, uh-oh this is too moving kind of tears that THE GOOD WIFE has earned from its viewers, because after five years, Diane's goodbye felt like our goodbye, too.

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.

Nope! I did not see that coming. Perhaps the break lulled me into a false sense of network procedural security, because I thought we were coming back to THE GOOD WIFE to watch Cary and Alicia battle it out for the future (indeed for the very culture) of Florrick/Agos.

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. Familiar songs, from Out from Under, to Toxic to Lucky are suddenly interesting, and often achingly autobiographical in content.

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. Costumes and lighting enhance these elements, and the performers themselves bring it all to life with exuberance, humour - and boundary-defying talent.

Broadway and Cabaret fans will get the best of both worlds when the Callaway sisters bring their brand of Sibling Revelry to Australia in June. Chatting with BroadwayWorld Australia on the eve of their trip to Oz, the siblings talk theme songs, proudest moments, 'sister lunches' and cocktail courage.

The best cabaret hurts your heart a little, it tells you something about life, and love. This, then, is cabaret at its finest. Bucchino's songs are beautifully detailed accounts of his life - of love affairs, and mistakes, and risks taken - essentially, all the things worth singing about.

For a modern audience, the strength of a classic work can also be its Achilles' heel. So it is with Ibsen's GHOSTS - the 19th Century writer's words are so on point as to feel contemporary, yet this realism also exaggerates any hint of melodrama present on stage.

He teaches Princesses to dance. He's been immortalised in Bobblehead form. He holds world records (Accordian! Madonna! 29.5 hours!). And he's performed to sold-out crowds all over - well, everywhere! Meet Hans, the international one-name Cabaret sensation ...

If there's a central theme of The Good Wife, it is that nothing stays hidden. The past catches up to you. Because whether it's via the NSA, a bedroom webcam, or a teleconference feed, someone is always watching, always listening …

The penultimate episode of Season Five begins and ends with a protest at the status quo. We start with a grand gesture – a pie smashed into the face of a mercenary executive. And end with something much more personal, as an estranged husband answers the late-night knock of a pretty, attentive girl.

Will. Will is dead. And even when The Good Wife goes retro, the game-changer that was his death looms large. Full credit to the writers here; like Diane, The Good Wife writers are channeling Will Gardner's ghost, and beautifully ...