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.
The cast of Muriel’s Wedding: the Musical, a co-production between Sydney Theatre Company and Global Creatures.
© Lisa Tomasetti
From Muriel's Wedding to a suite of budding new shows, 2017 was a great year for original Australian musicals.
Peter Cummins as Monk O’Neill in the 1972 Australian Performing Group production of A Stretch of the Imagination.
David Williamson and Jack Hibberd tower over Australian drama. Williamson's The Department and Hibberd's A Stretch of the Imagination both showcase the strange yet compelling detachment of these playwrights' visions.
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.
The Theatre Royal in Hobart, Australia’s oldest continuously operating theatre.
Tasmanian Archive and Heritage Office/Flickr
The idea of a 'canon' changes over time and despite its elitist overtones, identifying one can be both illuminating and fun. In a new series, we nominate the best of Australian drama.
A tasty morsel: Victorian Opera’s Banquet of Secrets
Musical theatre is on the rise in Australia. Still, if more subsidised companies invested in new works, we might yet see the Great Australian Musical.
Andrew Bovell’s adaptation of Kate Grenville’s The Secret River is a key example of post-Apology theatre.
AAP Image/Heidrun Löhr
It's been seven years since Kevin Rudd delivered his apology to Indigenous Australians. On Australia's stages dramatists continue to explore the ramifications of that apology and colonial history.
Onstage at the JC Williamson Theatre Royal in Sydney in 1935. Are we treating our playwrights any better than we did then?
Playwriting occupies a weak position in Australian culture because its historical role is not to be "good", but to be socially acceptable. We need now to take a modern attitude to drama.
Duncan Graham’s 2010 play Cut does not reveal itself as a traditional play does – but it’s a powerful demonstration of the evolution of theatrical storytelling.
Drama involves an altered representation of reality – and the way we understand both the representations and the reality evolve. Duncan Graham's recent play Cut shows how significantly those understandings change.
Drama is less about what gets said than what gets understood.
Many of the scholarly observations made about plays – who wrote them, when and why, their history, their canonical status, or not – are irrelevant. Audiences do not need to know such things.
A national theatre would help showcase Australian drama past and present, such as A Long Way Home, a collaboration between the Sydney Theatre Company and the Australian Defence Force.
AAP Image/Sydney Theater Company/Lisa Tomasetti
Sociologist Max Weber once called politics “the slow boring of hard boards”. If he had been in the arts he might have added, “using your head as a drill”. Australia’s cultural agenda often feels like an…
When it comes to analysing culture, numbers only tell part of the story.
Around 89,960. That’s the number of meals we can expect to eat if we live to the age of 82. Take an average of men and women’s life expectancies (79.9 + 84.3 ÷ 2), x 3 meals a day, x 365 days a year…