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.
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.
Australian rapper Joelistics and producer James Mangohig bring their family histories to the stage through a breathtaking display of beats, raps and storytelling.
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.
The Sound of Falling stars brings 31 male singers who died young, including Sid Vicious, Jim Morrison and Jeff Buckley, back to life, and forces us to question our role in their fates.
‘Well behaved women seldom make history,’ wrote historian Laurel Thatcher Ulrich, and Revolt. She said. Revolt again. at Melbourne’s Malthouse Theatre takes the idea to its apocalyptic extremes.
Queer life thrived in 1940s Sydney despite policing and prohibition, as a new production of the musical Only Heaven Knows demonstrates. But it was not to last.
A new production of Edward II by the ‘bad boy of Elizabethan drama’ breathes fresh life into the play, accentuating the story’s political and psychological dimensions.
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.