Performers engage in theatrical world-building in Germinal.
Germinal has the intentional naivete of a long brainstorm, made concrete with stage props, music and projection, but it rumbles through some incredibly sophisticated concepts.
Queen of controversy, Katie Hopkins.
Ian West/PA Archive/PA Images
The stage is the perfect place to explore dark thoughts.
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We're told VR will let distant audiences experience live shows from the comfort of their living room – but what if no one goes anymore?
Nicci Wilks and Susie Dee in Caravan.
Tim Grey Photography
Caravan tells the tale of a mother and daughter who live in a caravan. Staged in the Malthouse Theatre's forecourt, it is a sweet look at class and gender.
Joelistics (left) and James Mangohig in In Between Two.
Australian rapper Joelistics and producer James Mangohig bring their family histories to the stage through a breathtaking display of beats, raps and storytelling.
Taylor Mac performs in The Inauguration at the Melbourne Festival.
Taylor Mac's 90-minute version of a 24-hour history of pop music is a hit, determined to forge a renewed sense community with the audience.
The four rooms of a Japanese ryokan revealed in The Dark Inn.
Kuro Tanino's Dark Inn is a contemporary take on traditional Japanese theatre, contemplating the darkness of desire.
John Fead, Shakespeare and his contemporaries, 1851.
The first recorded performance of the theatre company that Shakespeare co-founded was at a playhouse south of the Thames, but was lost to historians for centuries. Now we know where it lies.
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.
Andile Gumbi beats down his opponent Given Mkhize in the King Kong musical.
The returned musical "King Kong" embodies the germinating seeds of two potential and mutually exclusive South Africas.
Puppet spectacle in Laser Beak Man.
Laser Beak Man and its superheroic puppetry will delight young and old at the Brisbane Festival.
Andrea Swifte as the mother in Big Heart: a nuanced and not unsympathetic performance.
Big Heart at Theatreworks questions Australia's generosity through the tale of a woman who adopts a child from five continents.
Theatre is undergoing a virtual revolution.
Mia and baby.
Mind the Gap
Mia: Daughters of Fortune is a powerful new play that puts this issue under the spotlight.
The Pulitzer Prize-winning playwright Sam Shepard died of complications from ALS on July 27, 2017, at his home in Kentucky.
To the recently deceased playwright, the nation's greatest tragedy was its move from an agricultural society to an urban, industrial one.
Some drag kings draw on facial hair to perform masculinity.
Photo by Sneakers
Drags kings have recently been declining in popularity, partly due to the evolving debate around gender and identity. But now a new and more inclusive drag culture is taking the stage.
La Mama’s value lies in the hard-to-measure connections between collaborators in theatre.
This year Melbourne’s La Mama Theatre celebrates its 50th year of operation. In an interview for the company’s 20th anniversary, the founding director Betty Burstall said: The basic thing is the money…
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.
Nikki Shiels in The Rover.
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.
Nearly three-quarters of Australians go to live art events, such as Dark Mofo in Hobart.
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.