My Dearworthy Darling: the new production from writer Alison Croggon and theatre company The Rabble.
This new production from Alison Croggon and The Rabble asks us to consider how women's voices are ignored, and makes us listen across time.
The mobile Soundforms stage brings indoor musical performances outside.
Flanagan Lawrence / Nick Gutteridge
Moving on from tiered seats and post-war black box stages, the design of theatres are changing again in response to new societal concerns.
Zahra Newman in Wake in Fright. A new adaptation of Kenneth Cook’s novel retells the story of a man’s descent into violent masculinity with a female voice, accompanied by visual and aural spectacle.
In a new adaptation of the classic Australian novel, the story of masculinity and despair in the outback is told through a female voice.
Celia Pacquola as Jenny Milford in The Torrents. A new production of the forgotten Australian play shows its themes are still relevant today.
A new production revisits a play dropped from the Australian theatrical canon long ago. Set in a regional newsroom, the play's themes are strikingly relevant today.
Sheridan Harbridge as Tessa in Prima Facie, a new play about a lawyer who becomes a victim of the legal system after she is sexually assaulted.
Written by a former lawyer, a new play presents a forceful critique of the Australian legal system's treatment of sexual assault.
Igor Sas in Water. The play deals with the issues of ‘illegal’ immigration and environmental crisis in three narratives.
Daniel J Grant
In the vein of Arthur Miller, a new play sees family drama and political issues clash in an enclosed space.
Scott Sheridan and Natasha Herbert in Cloudstreet, a new production of the stage adaptation of Tim Winton’s literary epic.
A new production of Cloudstreet - the play adapted from Tim Winton's literary epic - is visually arresting. But despite a diverse cast, Indigenous characters remain spectral and peripheral.
Eliza Winstanley, Carte de visite, circa 1860. TCS 19, Houghton Library, Harvard University.
Houghton Library, Harvard University.
Eliza Winstanley, who died of diabetes and exhaustion in Sydney in 1882, is largely forgotten. But as a leading artist on Australia’s earliest stages she deserves a prominent place in our theatrical histories.
Documentary play drawing on drama classrooms from England to Taiwan tells the story of global youth. From Left: Aldrin Bundoc, Zorana Sadiq, Amaka Umeh, Loretta Yu, Stephen Jackman-Torkoff, Liisa Repo-Martell. And in the foreground: Emilio Viera.
Aleksander Antonijevic/Project Humanity/Crow’s Theatre
A study that showed youth in five global cities lose hope as they grow into adulthood was turned into an elegant and beautiful documentary play with a plea to listen to the urgent calls of youth.
Children watch a performance of Much Ado About Nothing at Shakespeare’s Globe.
Cesare De Giglio/Shakespeare's Globe
Study uncovers what inner-city teenagers really thing about Hamlet et al.
Walking in water: James Burke-Dunsmore as Jesus in the Good Friday performance of the Passion of Jesus, staged by the Wintershall Players, in Trafalgar Square, London, April 2018.
Dominic Lipinski/PA Archive/PA Images
Was Jesus Christ the first male lead in the history of modern theatre?
How one academic found the perfect platform to share her research with the public.
A Man of Good Hope is a theatrical adaptation of the book of the same name, playing as part of this year’s Adelaide Festival.
In A Man of Good Hope, an energetic cast of over 20 performers take the audience on a journey through the life of Somali refugee Asad Abdullahi.
A scene from La Reprise, director Milo Rau’s first production following the publication of his controversial ‘Ghent Manifesto’ on theatre.
La Reprise is remarkable theatre about the murder of a gay man, Ihsane Jarfi, in Belgium in 2012.
© Dennis Weche
How theatre and artwork allowed us to better address severe air pollution.
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.
The Australian company of Harry Potter and the Cursed Child.
Big Shows have a long history – the Romans used flying machines on stage and Medieval mystery plays took over whole towns.
Michelle Lim Davidson, Anthony Taufa and Nakkiah Lui in Sydney Theatre Company’s production of How to Rule the World.
The latest offering from playwright Nakkiah Lui illustrates just how ripe our political class are for satirical representation.
Ian Wilkes in Kwongkan, an artistic collaboration between Australia and India.
An artistic collaboration between India and Australia, playing as part of this year's Perth Festival, stirs its audience to action on climate change.
Stefan Zweig’s Beware of Pity is being staged at this year’s Sydney Festival by Schaubühne Berlin and Complicité director Simon McBurney.
Beware of Pity is a play based on Austrian author Stefan Zweig's novel of the same name. It is a coming-of-age story that asks whether pity can be our undoing.