Theatre Credits
| Year | Production | Location | Role | Notes |
|---|---|---|---|---|
| pre-1992 | Odyssey of Runyon Jones, TheThe Odyssey of Runyon Jones | Methodist Ladies' College, Melbourne | Unknown | Adaption of play by Norman Corwin |
| pre-1992 | They Shoot Horses, Don't They? | Methodist Ladies' College, Melbourne | Director | Directed fellow students in a production of an adaptation of the novel by Horace McCoy |
| 1992 | Electra | National Institute of Dramatic Art, Sydney | Electra | Lead |
| 1992/1993 | Top Girls | Sydney Theatre Company | Unknown | This play by Caryl Churchill was her first starring role there |
| 1993 | Oleanna | Sydney Theatre Company | Carol | Lead opposite Geoffrey Rush in David Mamet's play about a university professor who is accused of sexual harassment by a student. Won Rosemont Best Actress Award. |
| 1994 | Hamlet | Belvoir Street Theatre Company | Ophelia | Played opposite Geoffrey Rush. It was a Company B Production, directed by Neil Armfield. |
| 1995 | Sweet Phoebe | Sydney Theatre Company and Warehouse Theatre, Croydon | Helen | Played lead in the Belvoir Street Theatre/Playbox Theatre co-production, written and directed by Michael Gow. The Sydney production was the first ever, then transferred to the West End |
| 1995 | Tempest, TheThe Tempest | Belvoir Street Theatre Company | Miranda | A Company B Production, directed by Neil Armfield. Played alongside Duxton Chevalier. |
| 1995 | Blind Giant is Dancing, TheThe Blind Giant is Dancing | Belvoir Street Theatre Company | Rose Draper | Played alongside Hugo Weaving. A Stephen Sewell play. It opened on 15 August 1995, and closed on 10 September 1995. It was a Company B production, directed by Neil Armfield, with music composed by Paul Charlier. |
| 1997 | Seagull, TheThe Seagull a.k.a. The Seagull in Harry Hills | Belvoir Street Theatre Company | Nina | Lead in the Anton Checkov play. It opened on 4 March 1997, and closed on 13 April. It was a Company B Production, directed by Neil Armfield, music composed by Paul Charlier. |
| 1999 | Plenty | The Alemida Season at the Albery Theatre, London | Susan Traherne | Lead in play by David Hare, directed by Jonathan Kent. It opened on 27 April 1999, and closed on 27 July. |
| 1999 | Vagina Monologues, TheThe Vagina Monologues | Old Vic Theatre, London | Unknown | Ensemble; Took part in the show in February 1999, alongside other actors including Melanie Griffith. |
| 2004 | Hedda Gabler | Sydney Theatre Company | Hedda Gabler | Opened on 22 July 2004, and closed on 26 September 2004. She reprised her performance as Hedda in New York in March 2006, at the Brooklyn Academy of Music's Harvey Theatre. On that occasion, she was awarded the Ibsen Centennial Commemoration Award. |
| 2009 | War of the Roses, The. CycleThe War of the Roses Cycle | Sydney Theatre Company | Richard II, Lady Anne | Previewed from 5 January 2009; performed in two parts as part of the Sydney Festival 2009, 10–31 January; through 14 February 2009. |
| 2009 | Streetcar Named Desire, AA Streetcar Named Desire | Sydney Theatre Company | Blanche DuBois | The play was directed by actress Liv Ullmann and co-starred Joel Edgerton. 2009 Helen Hayes Award for Outstanding Lead Actress in a Non-Resident Production, Washington, DC |
| 2010 | Uncle Vanya | Sydney Theatre Company | Yelena | Adaptation by A. Upton; with Richard Roxburgh (Vanya), John Bell (Professor Serebryakov), Hugo Weaving (Astrov) |
| 2011 | Big and Small | Sydney Theatre Company | Lotte | Directed by Benedict Andrews; new translation by Martin Crimp of Botho Strauß's 1978 play Groß und klein; co-commissioned by the Barbican Centre, London 2012 Festival, Théâtre de la Ville, Paris, Vienna Festival and Ruhrfestspiele Recklinghausen |
| 2013 | The Maids | Sydney Theatre Company | - | Played alongside Isabelle Huppert; directed by Benedict Andrews; new translation by Benedict Andrews and Andrew Upton of Jean Genet's 1947 play Les Bonnes |
Read more about this topic: Cate Blanchett
Famous quotes containing the word theatre:
“Mankind’s common instinct for reality ... has always held the world to be essentially a theatre for heroism. In heroism, we feel, life’s supreme mystery is hidden. We tolerate no one who has no capacity whatever for it in any direction. On the other hand, no matter what a man’s frailties otherwise may be, if he be willing to risk death, and still more if he suffer it heroically, in the service he has chosen, the fact consecrates him forever.”
—William James (1842–1910)