Gallery Updates – Theatre
Posted on
Aug 2, 2017

Gallery Updates – Theatre

Hello everyone!! It’s time to update the gallery!
We have some rarities and once again we want to share them with the fandom. All we ask, to anyone that repost this content (especially images), is to be fair, and give credit when it’s due. We are aware that there are a lot of pages, groups, etc. on social media and we are very glad to see that our work is spread and shared for everyone to see.
Therefore, it is difficult to tolerate on a daily basis the lack of respect to the time, work, dedication and the financial effort the three of us invest, everyday, to keep this site updated and freely accessible. We have no contact with Miss Blanchett management, what we post is the fruit of long daily researches; we don’t get any money in return for what we do: when we asked for donations the site was about to close; we are not hiding behind a screen, anyone can contact us through email (cateblanchettfancom@gmail.com) and contribute to the site.
We are fans, simple fans, but first we are human beings and to see our work treated so poorly it makes us rethink on the opportunity to keep this site open.






Francesco Vezzoli, director of Right You Are If You Think You Are, adapted from the italian play Così E’ (Se Vi Pare) by Luigi Pirandello, explains his work method and why he chose Cate to be the main actress here





Posted on
Sep 29, 2015

Gallery Update: Theatre

Another update! This time the Theatre section. In chronological order:

The War of the Roses (2009): Cate Blanchett plays Richard II and Lady Anne in a conflation of eight Shakesperian historical tragedies. For her performance she was nominated to an Helpmann Award and a Sydney Theatre Award.



Gallery Links:

Gross und Klein (2011): Cate Blanchett is Lotte in a play by German playwright Botho Strauss. She was nominated for an Evening Standard Award and won an Helpmann Award and a Sydney Theatre Award as best actress. The trailer can be found here.


Gallery Links:

The Maids (2013): directed for the third time by Benedict Andrews, Cate Blanchett is Claire in the play written by Jean Genet. She won an Helpmann Award and was nominated for a Sydney Theatre Award.


Gallery Links:

The Present (2015): in her most recent collaboration with the Sydney Theatre Company, Cate Blanchett is Anna, in the new adaptation of Chechov’s unfinished play Platonov.


Gallery Links:

Posted on
Jan 27, 2015

Cate Blanchett shares her six beauty secrets

Whether smudging her mascara just so or leaving her forehead slightly shiny, Cate Blanchett uses cosmetic signals to help craft her on-screen personae: “We really fine-tune those details,” Blanchett says. “The audience takes a cue from the visual before the characters even open their mouths.” Here, the two-time Oscar winner (and longtime ambassador for SK-II skin care) gives us a master class on the art of transformation.

How much does a character’s hair and makeup affect the psychology behind your performance?

It matters greatly. Personally, I prefer to play against the look: If a character appears particularly unhinged, with makeup running down her face, I like to play her as if she has it together. I think that juxtaposition makes it so much more interesting.

Have you ever played a character whose beauty habits made you uncomfortable with your own reflection?

I just completed this movie, Carol, in which I had to pluck my eyebrows nearly every day to achieve that very stern look. I just hated it. I much prefer a natural approach to beauty. You know, Coco Chanel always said to take one thing off before you leave the house, and I think that also applies to makeup.

Do you ever do your own makeup?

I’ve just come off of a three-week run of The Maids, where the backstage makeup is pretty bare-bones. It’s just you and the mirror. While I much prefer when a professional does it, I’m getting better at it—even liquid liner. After a run of several night events, you begin to appreciate the solitude and the quiet backstage. And then, of course, a healthy sweep of jet-black mascara. I’ve also taken to lining my eyes in white pencil to make them look instantly brighter and bigger. That’s something I’ve learned from the pros.

At the Emmys last year, a lot of people were talking about how the age ceiling has been shattered for women in Hollywood. What does that mean to you? Why is that always a topic of conversation?

Look at the women on Orange Is the New Black, American Horror Story, or The Good Wife. People really do want to see women doing dark, complicated, and crazy shit! Those shows have a myriad of male viewers because the writing is simply good. It’s not as if women just stop watching TV after they turn 40. I think what happened is that the women finally started to do something about it; they began writing and producing.

So much of beauty is predicated on what our mothers did. What was something you inherited from yours?

It does, doesn’t it? My mom always used Oil of Olay. She was always very careful not to expose herself to the sun and was always wearing a hat. My sister and I are also rather pale, you know? I think my generation is much more careful about not going into the sun. Some of my friends’ mums were total sun bunnies.

Who’s the most beautiful woman you’ve ever seen up close?

Michelle Williams—she just has this light about her. Jessica Chastain, too, in that same way that she’s sort of lit from within. And Norwegian director Liv Ullmann. Just beautiful.

via Elle Magazine

Posted on
Aug 11, 2014

Cate talks about The Maids (Video)

Here’s an interview with Cate talking about The Maids, which is currently showing in New York:

The Maids is coming to New York
Posted on
Jul 10, 2014

The Maids is coming to New York

Sydney Theatre Company is bringing The Maids to New York in August.

Here’s the info from Lincoln Center Festival website:

By Jean Genet
With Cate Blanchett, Elizabeth Debicki, Isabelle Huppert
New English translation by Benedict Andrews and Andrew Upton
Director Benedict Andrews
Set and costume designer Alice Babidge
Lighting designer Nick Schlieper
Music Oren Ambarchi
Video designer Sean Bacon
Sound designer Luke Smiles
Sydney Theatre Company returns to Lincoln Center Festival with Cate Blanchett, Isabelle Huppert, and Elizabeth Debicki in Jean Genet’s The Maids. Inspired by the story of the infamous Papin sisters who brutally killed their employer and her daughter, Genet’s play delves into the rituals of siblings Claire and Solange—played by Blanchett and Huppert—as they take turns playing both sides of the power divide and plot the demise of the domineering Mistress (Debicki). The production is directed by one of Australia’s most regarded theatrical talents, Benedict Andrews.

In 2012, Sydney Theatre Company’s “glorious” (New York Times) production of Chekhov’s Uncle Vanya was a break-out hit of Lincoln Center Festival, and with this North American premiere of The Maids, the company brings yet another acclaimed new staging to New York. Critics raved that the ravishing glass-box set is “the perfect high-octane setting for the sisters’ fantasies of death and desire to unfold” (Time Out Sydney) and a “temple to narcissism, excess, and paranoia” (Huffington Post).

“This is an opportunity to see two of the world’s best actresses playing opposite one another in a confronting but absorbing play, and to witness the debut stage role of a young actress who is billed by many to be the next Cate Blanchett. Don’t miss it.”
—Telegraph.com.au (Australia)

“A radiant production!”
—The Australian

“Isabelle Huppert delivers a strong, textured and playful performance.”
—The Guardian (London)

“Debicki, who appeared as Jordan Baker in [Baz Luhrmann’s film of] The Great Gatsby, is a towering figure, in all senses. She commands attention as she crushes her mature maids with the cruel power of her youth and beauty.”
—Huffington Post

“Benedict Andrews’s fine direction guides us beautifully through.”
—The Australian
This performance is approximately one hour and 45 minutes, with no intermission.

Presented in association with New York City Center.

Posted on
Jul 1, 2013

Photoshoots Gallery Updates

Hello everyone! As you might know, I’m working on merging the content from cate-blanchett.com over here, and the gallery is done! I’ve just finished uploading the Photoshoots and Theatre Work. I’ll be working on the Videos and the rest of the content, along with a new layout. Here’s what’s new on pictures:


Posted on
Jun 9, 2013

The Maids Reviews

Cate’s latest play “The Maids” has just opened and it’s getting great reviews:

From: TheAustralian.co.au:

TO bring together two actors of such greatness is wonderful but to bring them together in such a play as this is brilliant. Genet’s unsettling 1947 existentialist drama about two maids, Claire (Cate Blanchett) and Solange (Isabelle Huppert), who play out their fantasies of abjection and domination, is full of layers.

In their little acted-out “ceremony”, Claire plays Madame and Solange plays Claire (at least this time) but the theatrical levels are always shifting, flickering back and forth between different realities that are, in the end, all performances, like the theatre and like our lives.

And there is the fact that we are watching Blanchett and Huppert in magnificent, tour-de-force performances. They are celebrities as well as great actors and this layer – just watching them strut their stuff – becomes part of the fabric of the production. Add Elizabeth Debicki (who played Jordan Baker in the recent film The Great Gatsby) as an almost offensively young, beautiful, stupid and cruel Madame and we see Genet’s squalid drama of dreams and play-acting lifted into a different realm.

From Guardian.co.uk

Andrews’ longtime collaborator Cate Blanchett is in stunning form as Claire, picking up every nuance and flying through her character’s more difficult turns with skill and grace. Isabelle Huppert delivers a strong, textured and playful performance, but doesn’t bring the same kind of refinement and depth as Blanchett. Her diction is mostly clear, but as the play is so language-based, she struggles to keep up with Blanchett who conveys the intention and subtext of every single word in the script.