A new production of Cloudstreet - the play adapted from Tim Winton’s literary epic - is visually arresting. But despite a diverse cast, Indigenous characters remain spectral and peripheral.
Eliza Winstanley, who died of diabetes and exhaustion in Sydney in 1882, is largely forgotten. But as a leading artist on Australia’s earliest stages she deserves a prominent place in our theatrical histories.
A study that showed youth in five global cities lose hope as they grow into adulthood was turned into an elegant and beautiful documentary play with a plea to listen to the urgent calls of youth.
Was Mary Stuart a passionate and jealous failed queen, or a brave and complex woman? Opposing representations in a new film and play reflect modern anxieties about women’s agency and leadership.
Beware of Pity is a play based on Austrian author Stefan Zweig’s novel of the same name. It is a coming-of-age story that asks whether pity can be our undoing.
Deer Woman, written, directed, designed, composed, stage managed and performed by First Nations artists from Canada, is anchored by a solo performance of fierce skill, focus and precision.
Dancenorth’s Dust explores a world on the brink of turning back to dust. Its themes are familiar in contemporary dance, but the show is replete with powerful images.
Reality based theatre is one way artists are challenging the lies put out by politicians like U.S. President Donald Trump, who exploits our contemporary insecurities.
Not just for would-be actors: Theatre of the Oppressed is a unique genre of drama education through which students learn how to analyze social problems and change typical outcomes.