After two years of COVID-delay, Bell Shakespeare’s Hamlet reflects both personal and global tragedies.
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This beautifully crafted production at the Adelaide Festival is an intricate look at families and memory.
While spending two years in Dartmoor prison, Kim Crotty wrote and illustrated 47 stories for his sons, desperately seeking to maintain his connection with his family.
David Milroy’s Panawathi Girl is a rocking, vaudevillian, politically sharp and engaging piece of Australian First Nations’ music theatre.
With borders closed indefinitely, this year’s Fringe World is a decidedly local affair.
This new Australian play, adapted from Heather Rose’s award winning book, celebrates the power of performance to help us connect.
In an unexpected pleasure, Paige Rattray places the stage directions of Arthur Miller’s play front and centre.
The ten-time Tony winning production has finally hit Australian stages. It remains faithful to its flamboyant parent movie but features a revamped score and a fiercely talented local lineup.
Belvoir’s outrageously fun new pantomime is a celebration of modern Australia.
Kip Williams’ modern telling of Julius Caesar asks us to consider just how political stories are told, re-told, and told again.
At its best, the play Return to the Dirt reminds us of our mortality and the extraordinary people behind the scenes involved in our passing.
George Orwell’s 1945 novel is given a playful contemporary adaptation by Black Swan State Theatre Company.
A theatrical version of Trent Dalton’s novel is both an exploration of masculinity and an exuberant love letter to Brisbane.
In a bold new play, all of humanity takes a drug to induce a year’s hibernation.
Minor human errors beautifully show Tokyo’s opening ceremony for what it is: real people in real time.
When the future is clearly changing but we can’t focus on tomorrow, should we just keep dancing? Pamela Rabe anchors the absurdity of The Cherry Orchard.
Dogged, a new play at Griffin, seeks to tell both sides of the Australian story, exploring ideas of territory, guilt and culpability.
Loosely based on the ABC journalist’s own experiences, Stop Girl opens up a story about PTSD after war.
Artists Ian Wilkes and Poppy van Oorde-Grainger invite audiences to walk where the first contact between Noongar and white settlers at Lake Monger took place.
Mararo Wangai is captivating in his play, which captures the truth of being Black African in Australia.
Principais colaboradores
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Associate Professor of English Literature, University of Sydney
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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 Theatre, The University of Melbourne
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Associate Professor of Theatre Arts, Curtin University
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Senior Lecturer in Theatre and Performance Studies, UNSW Sydney
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Lecturer in English, University of Newcastle
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Senior Lecturer in Theatre and Performance, UNSW Sydney
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Associate professor, Macquarie University
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Professor of Creative Arts, Griffith University
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Senior Honorary Research Fellow, The University of Western Australia
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Associate Professor & Postgraduate Research Coordinator, Western Australian Academy of Performing Arts, Edith Cowan University
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Senior Lecturer, Discipline of English and Writing, University of Sydney
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Senior Lecturer, English and Theatre Studies, The University of Melbourne
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Humanities Researcher, Flinders University
