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.
New survey from the Australia Council shows pretty much all Australians engage with the arts, and 8-in-10 do so online. However more people are ambivalent about public arts funding, and more people think the arts are too expensive.
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.
‘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.
Musical theatre nominees at the 2017 Helpmann Awards are dominated by overseas productions. Our own productions need way more support to compete on the world stage.
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.
In Germany – a country where going to the theater is a deeply ingrained cultural tradition – the stage is a place to confront pressing political issues.
No other Australian playwright has mined their own life as much as Dorothy Hewett. In this expressionist drama, she depicts a girl of yearning heart, looking for love and hungry for life.
Each year at Easter, Christians recreate the spectacularly violent end of Jesus’s life, raising some tough questions about the depiction of suffering on stage.
Scrutinising the output of a national theatre at a time of rising nationalism is a worthwhile activity, but it needs either radical intention or emotional insight.
Every part of this production - staged outdoors in a quarry - shows evidence of the highest degree of collaboration and the greatest subtlety of decision.
A development festival for Indigenous Australian playwrights showcased a range of stories: from the sharply comic tale of a woman hunting for her wayward husband to a powerful exploration of prison violence.
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.