Rokia Traoré’s poetic lyrics expand the themes of love, jealously and pride in Desdemona.
Mark Allan/Melbourne Festival
The Melbourne Festival production of Desdemona, written by Toni Morrison and with music by Malian songstress Rokia Traore, puts the women of Shakespeare's Othello centre stage.
Desdemona is one of several productions at this year’s Melbourne Festival that invites its audiences to listen to tragedy and its reverberations.
Mark Allan/Melbourne Festival
Tony Morrison's Desdemona, which opens today in Melbourne, asks many questions of its audience. Perhaps most pressingly: what does it really mean to listen, rather than hear?
From Afar on a Hill seeks to dispel misconceptions around the numbers, circumstances, motivations and the actual mechanisms for acceptance of asylum seekers in Australia.
From Afar on a Hill is an immersive theatre work that provides insight into the lived experience of asylum seekers and lays bare the arbitrariness of Australia’s immigration policies.
Every year thousands of students read George Orwell’s 1984 and are doubtless convinced that its perspective on language and power is “definitive”. Except that it’s not; and hasn’t been since at least the 1970s.
Manuel Harlan/Melbourne Festival
Many still regard George Orwell’s 1984 and its message about the nature of language and power "definitive". But globalisation has revolutionised how we communicate; 1984 tells us nothing about our future.
Actors with visible and audible disabilities challenge us to rethink conventional notions of ‘acting’.
This year's Melbourne Fringe Festival program features an array of performances by artists with disabilities. Their work tells its audience what the mainstream looks like from the margins.
What does telling the story of the long-running conflict in the Congo through the lens of Verdi’s Macbeth teach us? Owen Metsileng and Nobulumko Mngxek in Macbeth.
by Nicky Newman
Brett Bailey's Macbeth at Brisbane Festival is a powerful production that relocates Verdi's opera (based on Shakespeare’s play) to the ongoing conflict in the Democratic Republic of Congo.
Interactive children’s theatre engages childrens’ innate creative impulses and encourages them to be curious and playful. Image by Kristian Laemmie-Ruff.
An expanded program of interactive performances for children at this year's Melbourne Fringe Festival harnesses their audience's innate creative abilities and invites them to both watch and join in.
Alison Bell as Emma, making the long, counter-intuitive journey from despair to hope, is perfect in every way.
This production of a very great play by the State Theatre Company of South Australia is beautiful, clarified, and haunting. You will be relieved to know it is "excellent". More to the point it is right.
Greek tragedy remains the most modern form of drama, unafraid to question everything we value.
Sarah Walker. Photo: Jane Montgomery Griffiths as The Leader and Aaron Orzech as Haemon.
Regardless of reasoning and the plethora of scholarship that exists, Greek tragedy remains the most modern form of drama. It is unafraid to question everything we value.
Anna Volska, Maggie Dence, John Gaden, Peter Carroll and Barry Otto in Seventeen.
Brett Boardman/Belvoir St
Seventeen is the story of teenagers on the brink of adulthood; its canny trick is a cast of actors in their 70s. Despite this, it's a conservative play that adheres to a predictably happy ending.
‘What makes directing worthwhile are the people who you do it with.’
Jane Dempster/AAP. Bell Shakespeare's production of Tartuffe, 2014.
'Theatre directors come in two kinds: "star" and "of use". I'm in the latter category, which means that, for any given play, there are at least three or four other directors who could do it equally well.'
Sophiline Cheam Shapiro (L) in rehearsal with one of the members of the Sophiline Arts Ensemble. Khmer Arts Theater, Takhmao (Kandal Province), Cambodia. June 26, 2015.
Photo by Chris Philips
New stories can offer insight on alternative ways of living out our lives. As the experience in Cambodia shows, the performing arts can help us face up to enormous challenges and possibilities.
At its best, opera can, indeed, be a powerful form of allegorical theatre.
EPA/Gian Ehrenzeller (Image from Verdi's I due Foscari)
A gang-rape scene in a new London staging of Rossini's Guillaume Tell was greeted with audience booing, and has sparked ongoing controversy. Are opera directors at risk of miscomprehending the medium?
Stage musicals, such as the Rocky Horror Show, don’t necessarily make sense. Nor do recent changes to arts funding.
AAP Image/Paul Miller
In cultural policy every good idea becomes a bad one if the context is confused. The fact there wasn’t initial clarity around the Program for Excellence indicates it will probably do more harm than good.
Savile on stage.
© Helen Maybanks
The cast have made a personal and emotional sacrifice in entering into the nightmare world of Jimmy Savile. And for that, they deserve our respect and praise.
The Waiting Room explores the love, loss and hope of IVF.
Covering love, loss and IVF, Kylie Trounson's latest play explores the life of her own father, pioneering biologist Alan Trounson, and the invention of IVF.
Sport for Jove’s production of Shakespeare’s The Merchant of Venice is now onstage in Sydney.
Sport for Jove
Sport for Jove's The Merchant of Venice is a production of ourstanding clarity, making it ideal for students or perhaps even those who simply don’t often see Shakespeare in the theatre.
Duncan Graham’s 2010 play Cut does not reveal itself as a traditional play does – but it’s a powerful demonstration of the evolution of theatrical storytelling.
Drama involves an altered representation of reality – and the way we understand both the representations and the reality evolve. Duncan Graham's recent play Cut shows how significantly those understandings change.
A 1964 Soviet stamp depicts William Shakespeare.
"Stamp" via www.shutterstock.com
Centuries before the internet, Shakespeare became a global phenomenon.
Drama is less about what gets said than what gets understood.
Many of the scholarly observations made about plays – who wrote them, when and why, their history, their canonical status, or not – are irrelevant. Audiences do not need to know such things.