Maxine Peake in the stage production of Julia Leigh’s Avalanche: A Love Story.
The Other Richard
Avalanche: A Love Story, is a play based on the author's memoir detailing the anguish of her six unsuccessful attempts at IVF. It depicts doctors who prey upon an ageing woman’s despair and the stigma attached to 'failed' mothers.
Saoirse Ronan as Mary Stuart in Josie Rourke’s 2018 film Mary Queen of Scots.
Liam Daniel/Focus Features
Was Mary Stuart a passionate and jealous failed queen, or a brave and complex woman? Opposing representations in a new film and play reflect modern anxieties about women's agency and leadership.
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.
Robyn Nevin was horrible – and horribly funny – as Miss Docker in A Cheery Soul.
Robyn Nevin and Gillian Jones in A Cheery Soul, 2000, co-produced by STC and Belvoir St Theatre. Photo: Heidrun Löhr ©
An early review of Patrick White’s A Cheery Soul said it 'upset everybody who saw it'. But this extraordinary play, once a victim of 60s cultural cringe, marked a turning point in Australian theatre.
Wife and husband duo Cate Blanchett and Andrew Upton were co-artistic directors of the Sydney Theatre Company for five years. Upton was solo director for a further three.
Sydney Theatre Company now has an interim artistic director, after the sudden departure of Jonathan Church. A flagship theatre company can transform a city's view of its place in the world, which is why the role is so important.
Sachin Joab, Paula Arundell, Sophie Ross and Glenn Hazeldine in Sydney Theatre Company’s Disgraced.
© Prudence Upton
Ayad Akhtar's Disgraced explores the contemporary conflict between Islam and the West by exposing the fear and loathing lurking beneath personal relationships.
Geoffrey Rush as King Lear … the last guy you want at the festive barbie.
King Lear manifests the neurosis of age and abuse. While his behaviour is dramatically exaggerated, we can read universal lessons on toxic family dynamics in Shakespear's tragedy.
Lear’s mordant images and sonorous cadences throb with dire warning and a sense of imminent catastrophe.
Lear's mordant images and sonorous cadences throb with dire warning and a sense of imminent catastrophe. So what's the play's key message, for current times, with Geoffrey Rush in the title role?
Andrew Upton’s production of Waiting for Godot breathes new life into the play.
Sydney Theatre Company/Lisa Tomasetti
On Saturday night, Andrew Upton’s production of Samuel Beckett’s Waiting for Godot opened at the Sydney Theatre Company (STC) – without provoking the executors of the Irish playwright’s estate to anger…