Beware of Pity is a play based on Austrian author Stefan Zweig’s novel of the same name. It is a coming-of-age story that asks whether pity can be our undoing.
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Debates about the place of the monologue in theatre fall away when you have a show as compassionate and funny as The Weekend.
Dancenorth’s Dust explores a world on the brink of turning back to dust. Its themes are familiar in contemporary dance, but the show is replete with powerful images.
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.
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.
This cabaret show about a beverage incorporates politics, feminism, history and some rousing singalong numbers.
In 1979, the American satellite Skylab crashed in Western Australia. A new play imagines what happened to an Aboriginal family nearby.
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.
A successful adaption of Lars von Trier’s film Melancholia breathes new life and energy into its female characters.
Federico Garcia Lorca’s shocking civil war play is successfully transferred to the Australian desert by the Melbourne Theatre Company.
In Terrestrial, teenager Libby wants aliens to whisk her across the galaxy to escape her abusive father.
Nakiah Lui’s Blackie Blackie Brown is an explosive collision of genres that executes Indigenous justice with extreme prejudice.
Michele Lee’s play is a vibrant and layered comic exploration of stereotypes, from piccolo-quaffing urban Melburnites to migrant memoirists.
Still Point Turning highlights the stigma and controversy around Australia’s most high-profile transgender person.
The Great War uses scale models to give a worm’s eye view of titanic violence. In Kings of War, by contrast, lethal events are viewed from the unsteady perspective of leaders.
Memorial brings Alice Oswald’s poetic retelling of the Iliad to the stage, with its furious indictment of war and its aftermath.
You Know We Belong Together is a moving demand for more representation of people with Down Syndrome in the arts.
Top contributors
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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
