Erin Ball performs at Cripping the Arts at Harbourfront Centre in Toronto, in January 2019. She balances with her hands on the arms of an old wheelchair. Behind her, two long pegs extend from her prosthetic legs.
(Michelle Peek Photography for ReVision)
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.
Pia Johnson
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.
Philip Gostelow
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.
Brett Boardman
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
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.
Michiel Devijver
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.
Matt Murphy