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.
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.
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.
Calum Barbour as the drug dealer in Trainspotting.
It's one thing to read Irvine Welsh's grim tale of 1980s Scotland - it's another to see it happen three feet away from you.
Diana (Xiaojie) Lin as the mother in Little Emperors.
China's demographic experiment come to life in Little Emperors, but not always successfully.
Ned, played by Johnny Carr and Mortimer (Marco Chiappi) in Edward II.
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.