Kate Mulvany in An Enemy of the People.
In a new production, Ibsen's play is transformed to small-town Australia with the whistle-blower at the centre of the story played by Kate Mulvany.
Hazem Shammas in Trustees: his powerful incantations towards the end of the production will leave you reeling.
This production, a collaboration with local theatre artists, stages a public debate hosted by the (made up) Melbourne Trust Forum. It unfolds as part media reportage and part gameshow.
Barry McGovern in Watt.
Samuel Beckett wrote Watt while hiding from the Gestapo during the second world war. It describes Watt’s journey to, within, and away from Mr Knott’s house, where Watt lives for some time as a servant.
Training in improvisational theatre enables health professionals to learn deeper empathy, as well as mental agility and other clinical skills.
Health professionals need a dose of drama in their training to build clinical and interpersonal skills.
In Steven Sewell’s play, two physicists search for ‘truth’.
Stephen Sewell's play questions truth, humanity and what constitutes our individual and collective worlds.
Performers in Circa’s En Masse.
The incredible physical control of the Circa acrobats, and their ability to make bodies seem weightless, is breathtaking.
Plays like ‘Where the Blood Mixes’ (with actors Kim Harvey and Billy Merasty) help shed light on Indigenous stories, helping to educate Canadian audiences.
Indigenous theatre and storytelling provides an opportunity for all Canadians to honour the directives of the Truth and Reconciliation Commission. The Canadian government should support this mission.
David Woods and Eloise Mignon in the Malthouse’s production of Blasted.
Photo Pia Johnson
The central journey in Blasted is not a tourist trip through extreme violence. It's the emotional journey of a bully who learns to be grateful for small acts of kindness.
Shakespeare can survive a little chipping away at his 400-year reputation.
Nicolai Khalezin in Generation Jeans.
A pared-down, humorous and intimate monologue, this production explores the human dimension of a political movement. It is a challenge to tacit silence and collective amnesia in Australia also.
Winston Ntshona in ‘Sizwe Banzi is dead’.
Supplied by Baxter Theatre
In an age that venerates celebrities and self-promotion in the arts and culture sector, Winston Ntshona remains a role model for his modesty.
Wayne Blair as Jeremy and Jada Alberts as Simone in Sydney Theatre Company’s Production of The Long Forgotten Dream.
© Heidrun Lohr
In the Sydney Theatre Company's premiere production, white guilt festers as part of the shame, the ongoing, percolating wound that is the plot-space of contemporary colonisation.
Tania Vukicevic as ‘Feminist AF’ Lysa in Lysa and the Freeborn Dames.
Dylan Evans Photography
In La Boite's premiere production, 19-year-old Lysa unleashes a one-woman protest inspired by recent women's marches around the world.
Ivy Emms with the man she married, Jack Bent, on a music catalogue for the song Just a Ray of Sunlight. After performing patriotic songs as a child in popular pantomimes, Emms later worked as a choreographer at Melbourne’s Tivoli Theatre.
More than 100,000 records of live performance are on a database of our theatre history. They tell of corroborees, the first play staged by white settlers, and long-gone gracious theatres.
Eryn Jean Norvill as Justine in Melancholia: the play echoes and resonates with details of its cinematic predecessor.
A successful adaption of Lars von Trier's film Melancholia breathes new life and energy into its female characters.
Quebec theatre director Robert Lepage’s play SLĀV was cancelled in Montreal after accusations of racial insensitivity because it featured few Black actors.
THE CANADIAN PRESS/Frank Gunn
A recent controversy surrounding Québec director Robert Lepage has had some people claiming to be colour-blind when in comes to race. But nothing could be further from the truth.
Jacqy Phillps as Karen and Russell Kiefel as Chris in the State Theatre Company of South Australia’s 1986 production of Dreams in an Empty City.
Stephen Sewell's 1986 exemplifies the traits of the decade: apocalyptic in feel, epic in scope and unforgiving in length
Kamishibai Performer In Japan.
Welcome to the wonderful world of kamishibai – a centuries-old Japanese storytelling tradition.
Gavin Webber and Kate Harman in The Mathematics of Longing.
Art Work Agency
In an ambitious new work of theatre and dance, performers read out mathematical theories then build scenes around them.
Happy and Holy: Barry Otto as Tockey, Ruth Cracknell as Cecilia McManus, Graham Rowe as Denny, Ron Hadrick as O'Halloran in a 1982 production by the Sydney Theatre Company.
Photographer David Wilson.
The 1970s transformed Australian drama. It was a time of imaginative brilliance as the Empire wrote back.