Theatre is undergoing a virtual revolution.
Mia and baby.
Mind the Gap
Mia: Daughters of Fortune is a powerful new play that puts this issue under the spotlight.
The Pulitzer Prize-winning playwright Sam Shepard died of complications from ALS on July 27, 2017, at his home in Kentucky.
To the recently deceased playwright, the nation's greatest tragedy was its move from an agricultural society to an urban, industrial one.
Some drag kings draw on facial hair to perform masculinity.
Photo by Sneakers
Drags kings have recently been declining in popularity, partly due to the evolving debate around gender and identity. But now a new and more inclusive drag culture is taking the stage.
La Mama’s value lies in the hard-to-measure connections between collaborators in theatre.
This year Melbourne’s La Mama Theatre celebrates its 50th year of operation. In an interview for the company’s 20th anniversary, the founding director Betty Burstall said: The basic thing is the money…
Discontinuities, a triple bill staged at La Mama in 2002.
From Cate Blanchett to David Williamson, some of Australia's most well known theatre artists have performed at La Mama, which celebrates its 50th birthday this year.
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.
Nearly three-quarters of Australians go to live art events, such as Dark Mofo in Hobart.
New survey from the Australia Council shows pretty much all Australians engage with the arts, and 8-in-10 do so online. However more people are ambivalent about public arts funding, and more people think the arts are too expensive.
Cameron Goodall in The Sound of Falling Stars at the Adelaide Cabaret Festival.
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.
Elizabeth Esguerra, Belinda McClory and Ming Zhu Hii in Revolt. She Said. Revolt Again. at Melbourne’s Malthouse.
'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.
As thrilling as they are for audiences, Australia’s musical theatre scene is dominated by productions honed on the West End and Broadway.
Musical theatre nominees at the 2017 Helpmann Awards are dominated by overseas productions. Our own productions need way more support to compete on the world stage.
Ben Hall and Tim Draxl in Only Heaven Knows
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.
Sol Feldman in The Book of Exodus at Theatre Works.
The Book of Exodus is a provocative work that sees children retelling the biblical tale.
The Simpsons, but not as you know them. Jude Henshall in Mr Burns.
Mr Burns is a dazzling meditation on the meaning of theatre through The Simpsons.
Sparks fly as families come together for the Christmas dinner in Nakkiah Lui’s Black is the New White.
Nakkiah Lui's Black is the New White takes 17th-century comedy of manners and uses it to probe race and class to great effect.
King Charles III (Tim Pigott-Smith).
Robert Viglasky for BBC/Drama Republic
In TV and film the British monarchy have never had it so good – it's about time something took a more sceptical eye.
After 71 dead refugees were found in an abandoned refrigeration truck in September 2015, the Bochum Theater organized a public reenactment of the tragedy.
In Germany – a country where going to the theater is a deeply ingrained cultural tradition – the stage is a place to confront pressing political issues.
The Chapel Perilous follows the life of Sally Banner “a rebel in word and deed”.
No other Australian playwright has mined their own life as much as Dorothy Hewett. In this expressionist drama, she depicts a girl of yearning heart, looking for love and hungry for life.
Passion, Lament, Glory at Melbourne’s St. Paul’s Cathedral in 2017.
Each year at Easter, Christians recreate the spectacularly violent end of Jesus's life, raising some tough questions about the depiction of suffering on stage.
My Country // Sarah Lee
Scrutinising the output of a national theatre at a time of rising nationalism is a worthwhile activity, but it needs either radical intention or emotional insight.