The Great War uses scale models to depict catastrophe through a keyhole.
The Great War uses scale models to give a worm's eye view of titanic violence. In Kings of War, by contrast, lethal events are viewed from the unsteady perspective of leaders.
Helen Morse lends her voice to the poetry of Memorial.
Memorial brings Alice Oswald's poetic retelling of the Iliad to the stage, with its furious indictment of war and its aftermath.
Julia Hales and the cast of You Know We Belong Together.
You Know We Belong Together is a moving demand for more representation of people with Down Syndrome in the arts.
Rachel Burke as Olivia (left), Miranda Daughtry as Annie (centre) and Anna Steen as Ruby in In The Club.
A new work by playwright Patricia Cornelius tackles the prevalence of sexual assault in Australia's sports culture. In The Club is engaging, poetic and relevant to our times.
French-Canadian actor Yves Jacques in Robert Lepage’s The Far Side of the Moon.
This Perth Festival show, soon to come to Adelaide, contemplates both the mysteries of the cosmos and one man's inner life.
Evgeny Grishkovets in Farewell to Paper: a meditation on times past, the fears raised by the dizzying turnover of technologies and the importance of patience.
A engaging show at the Perth Festival is an homage to obsolete objects - pen knives, blotting paper, inkwells, the handwritten letter, telegrams - and a meditation on time.
Julie Hale (left) and Joshua Jenkins in The Curious Incident of the Dog in the Night-time, an adaptation of Mark Haddon’s novel.
A theatre production of Mark Haddon's much-loved novel is affirmative and at times deeply sentimental, with a hi-tech set, and exacting choreography.
Bani and the cast of My Name is Jimi.
My Name is Jimi is the story of actor Jimi Bani told by four generations, in three languages, drawing on multiple cultural and theatrical traditions.
Maura Tierney (second from left) plays Germaine Greer, Scott Shepherd (far left) and Ari Fliakos (second from right) both play Norman Mailer, and Greg Mehrten as Diana Shilling (far right).
The Town Hall Affair is a recreation of a 1971 debate between Germaine Greer and other feminists and Norman Mailer. It feels exceptionally prescient in 2018.
Elaine Cromby and Ursula Yovich in Barbara and the Camp Dogs.
Barbara and the Camp Dogs transformed Sydney's Belvoir Theatre into a pub gig. But what started as a comedy became a searing tragedy about Australia's inability to listen to Indigenous people.
Hilary Cole, Helen Dallimore and Maggie McKenna in Sydney Theatre Company and Global Creatures Production of Muriel’s Wedding the Musical.
© Lisa Tomasetti
Muriel Heslop stole Australia's heart when she debuted on screen in 1994. Now she gets a loving, ABBA-filled musical tribute, that is definitely not terrible.
Sophia Forrest as Eli in Let the Right One In.
Photo credit Daniel J Grant
Based on the 2004 novel, Let the Right One is a bloody staging of a vampire romance. Except in this show, the predator is a teenage girl.
Performers engage in theatrical world-building in Germinal.
Germinal has the intentional naivete of a long brainstorm, made concrete with stage props, music and projection, but it rumbles through some incredibly sophisticated concepts.
Nicci Wilks and Susie Dee in Caravan.
Tim Grey Photography
Caravan tells the tale of a mother and daughter who live in a caravan. Staged in the Malthouse Theatre's forecourt, it is a sweet look at class and gender.
Joelistics (left) and James Mangohig in In Between Two.
Australian rapper Joelistics and producer James Mangohig bring their family histories to the stage through a breathtaking display of beats, raps and storytelling.
Taylor Mac performs in The Inauguration at the Melbourne Festival.
Taylor Mac's 90-minute version of a 24-hour history of pop music is a hit, determined to forge a renewed sense community with the audience.
The four rooms of a Japanese ryokan revealed in The Dark Inn.
Kuro Tanino's Dark Inn is a contemporary take on traditional Japanese theatre, contemplating the darkness of desire.
Puppet spectacle in Laser Beak Man.
Laser Beak Man and its superheroic puppetry will delight young and old at the Brisbane Festival.
Andrea Swifte as the mother in Big Heart: a nuanced and not unsympathetic performance.
Big Heart at Theatreworks questions Australia's generosity through the tale of a woman who adopts a child from five continents.
Nikki Shiels in The Rover.
The Rover begins with 17th-century playwright Aphra Behn inviting those who don't like the idea of a female writer to fuck off, setting the tone for a hilarious and utterly relevant romp through Naples.