Critics

During each public and private performance in this ethereal theatre, informed critics are likely to be amongst the audience.  Those persons often seek to identify true artistry.  They are therefore willing to encourage the development of considerable talents, wherever those talents may be lurking.

There are always critics lurking around in the darkness of theatres and opera houses, ready to pounce on an unwary performer, artistic director or annoying audience member.

Whether any critic is able to enlighten anyone is often little more than a matter of opinion.  Indeed, criticism itself is often merely a matter of opinion, however informed that opinion might be.

As this digital, ethereal theatre exists in Adelaide in Australia, an Adelaidean critic will probably have a different opinion from critics existing elsewhere.  Having a locational bias is very common as far as opinions are concerned.


The following information is mainly for patrons only:



You may wish to test your own critiquing skills on the following subjects:

1. Investing in Adelaide

2. The future of Adelaide

3. Political and musical pleasantries in Adelaide

4. Healthy minds in Adelaide


If you are intending to attend any of the ethereal workshops on the topic of enlightened critiquing, do please ensure you bring along a mind of your own.  You will be expected to answer a wide range of pertinent questions with insight and aplomb.

For example:

a) What are the main skills required of a social commentator and cultural critic?

b) Why is free-ranging better than freelancing?

c) How will you train off the raillery?

d) When is it important to show appreciation?

e) How do you know you can critique better than Socrates, Kant and Twaklin?

f)  How well do you know how to write an opera?

g) How should a critic go about understanding the landscape?

h) What should a critic know about courtiers for Canberra?

i) What should a critic know about vanity unfair?

j) What is the importance of enlightenment?

k) Where have you found Australian apparitional culture?

l) Why is it important to have a selection of connections?

m) When and how have you written Mozarty, Mozartian and/or Mozart reviews, and why?

n) How do you usually critique a grand finale?

o) What is your familiarity with Mozarty thinking?

p) How often have you read cantabile tales?

q) Are you usually quite please with perfection?

r) When do you know you have received sound advice?

s) When is it appropriate to supply contrarian variations?

t) Why should a critic appreciate a friendly environment?

u) What is your usual approach to appurtenances and impertinences?

v) How have you informed yourself about classical Twaklin and the art and science of global and vocal improvements?

w) What are you likely to gain from the Mess Trick Treaty?

x) What is of real value?

y) How often have you experienced travels with Mozart?

z) What is the future of the arts?


Enlightened criticism is associated with enlightened patronage, as will be revealed to you in more detail whilst attending the ethereal workshops.

The best critics are invited to judge the auditions here but only after they themselves have successfully auditioned.  It is easy to be a critic without being proficient at the skills critiqued.  Yet it is impossible to supply an adequately informed critique without understanding the art of sprezzatura within an accomplished performance.

Good critics are often invited to an elegant Adelaide event.  They know when being reasonably vocal is appropriate and when it is better to keep quiet.  They express the loftiest of thoughts.  They know when something most fortunate is occurring. 

If you are a good critic you will know when and how to appoint a new leader.  You will ensure that such an individual has an adequately elegant profile.  This may be achieved through enlightened democracy, desirable comments and uncensored computational conversations.

A good critic has a comprehensible standard of communication.  Such a person is keenly aware that the music industry does not exist

As a good critic, you will be expected to have an adequate understanding of the relationship between comedy and opera.  You will regularly supply informed opinions, insightful witticisms and excellent criticisms of and from the arts.  You will know a great deal about great talents and other gifts.  You will also know what is likely to be involved when paying for the singer.

When witnessing the development of a great career, including your own, you will be aware that this is history.  Documenting history is one of the most important duties of any critic.

You will therefore be expected to know something about the future of historically informed performances.

You will have an informed understanding of happiness, Sir Wolfie and the 2015 World Enlightenment Forum.

You will have a sensitive and knowledgeable insight into the relationship between Mozart and the Mohammedans, and any other cultural groups for that matter.

You will be relatively familiar with the relationship between Mozart and the mysteries of the universe.

You will be able to critique excellent health policies with Mozart, along with any other valuable compositions.

You will be able to identify a balanced manifesto.

On any day of the year, you will be able to critique its history with confidence and competence.

You will always critique events in a sublimely refreshing manner.

You will also participate in Twaklinesque arts for a better world, whenever possible.