The Rocky Horror Show and its star, Frank-N-Furter, debuted in 1973. His character owes much to older performance traditions.
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Articles on Theatre
Displaying 141 - 160 of 372 articles
Shakespeare’s first reputation was as a poet, and particularly as a sex poet. He would later incorporate his bawdy inclinations into his most famous plays.
A group of diasporic Syrian actors in Marseilles came together with a few remaining in their home country to create this touching, hard-hitting play.
In a new production, Ibsen’s play is transformed to small-town Australia with the whistle-blower at the centre of the story played by Kate Mulvany.
This production, a collaboration with local theatre artists, stages a public debate hosted by the (made up) Melbourne Trust Forum. It unfolds as part media reportage and part gameshow.
Samuel Beckett wrote Watt while hiding from the Gestapo during the second world war. It describes Watt’s journey to, within, and away from Mr Knott’s house, where Watt lives for some time as a servant.
Health professionals need a dose of drama in their training to build clinical and interpersonal skills.
Stephen Sewell’s play questions truth, humanity and what constitutes our individual and collective worlds.
The incredible physical control of the Circa acrobats, and their ability to make bodies seem weightless, is breathtaking.
Indigenous theatre and storytelling provides an opportunity for all Canadians to honour the directives of the Truth and Reconciliation Commission. The Canadian government should support this mission.
The central journey in Blasted is not a tourist trip through extreme violence. It’s the emotional journey of a bully who learns to be grateful for small acts of kindness.
Shakespeare can survive a little chipping away at his 400-year reputation.
A pared-down, humorous and intimate monologue, this production explores the human dimension of a political movement. It is a challenge to tacit silence and collective amnesia in Australia also.
In an age that venerates celebrities and self-promotion in the arts and culture sector, Winston Ntshona remains a role model for his modesty.
In the Sydney Theatre Company’s premiere production, white guilt festers as part of the shame, the ongoing, percolating wound that is the plot-space of contemporary colonisation.
In La Boite’s premiere production, 19-year-old Lysa unleashes a one-woman protest inspired by recent women’s marches around the world.
More than 100,000 records of live performance are on a database of our theatre history. They tell of corroborees, the first play staged by white settlers, and long-gone gracious theatres.
A successful adaption of Lars von Trier’s film Melancholia breathes new life and energy into its female characters.
A recent controversy surrounding Québec director Robert Lepage has had some people claiming to be colour-blind when in comes to race. But nothing could be further from the truth.
Stephen Sewell’s 1986 exemplifies the traits of the decade: apocalyptic in feel, epic in scope and unforgiving in length
Top contributors
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Professor of Creative Arts, Griffith University
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Researcher, The Australian Centre, The University of Melbourne
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Adjunct Associate Professor, Auckland University of Technology
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Lecturer in English, Australian National University
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Associate Professor of English Literature, University of Sydney
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Senior Lecturer in Theatre and Performance Studies, UNSW Sydney
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Senior Lecturer, English and Theatre Studies, The University of Melbourne
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Professor of Drama and Theatre Studies, Royal Holloway University of London
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Canada Research Chair in Socially Engaged Theatre; Director, Centre for Socially Engaged Theatre (C-SET), University of Regina
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Research assistant, Empire, Migration and Belonging, University of Oxford
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Sessional lecturer and researcher, The University of Melbourne
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Lecturer in Theatre, The University of Melbourne
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Hon Research Fellow in Poetry and Theatre studies, The University of Western Australia
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Senior Lecturer – Modern History, Macquarie University
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Lecturer in Musical Theatre, Griffith University
