Actor Eryn Jean Norvill’s portrayal of all the characters in The Portrait of Dorian Gray triumphantly illustrates Oscar Wilde’s notion of the self as a form of performance.
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.
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.
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.
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.
Ayad Akhtar’s Disgraced explores the contemporary conflict between Islam and the West by exposing the fear and loathing lurking beneath personal relationships.
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. So what’s the play’s key message, for current times, with Geoffrey Rush in the title role?
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…