Four talented performers tell the stories of a number of iconic women from history in Belvoir St Theatre’s latest production.
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David Williamson’s newest play at the State Theatre Company South Australia takes us on board a ‘lifestyle cruise’ – or, to be blunter, a swingers cruise.
Unapologetically sentimental, uncynically joyful, and brimming with wholeheartedness, Love Stories delivers exactly what its title promises.
Marion Crawford is best remembered – if she is remembered at all – as an employee of the British royal family. A new Australian play brings her to the stage.
An Olympics first, three adaptations of writings, and an album that celebrates its form.
A life in five parts in a changing France is wrought powerfully on stage in this adaptation of Annie Ernaux’s book The Years
Van Badham and Richard Wise have created a stunning two-hander about an ultimate first-date disaster, and finding connection despite differences.
Ensemble Theatre’s exceptional and engaging production of Uncle Vanya successfully captures the essence of Chekhov’s work.
The production is doomed by a muddled script and mediocre music.
The audience at opening night seemed appreciative and engaged in the story. Yet somehow I felt unsatisfied with various aspects.
Dracula has always lived somewhere between the written word, screen projections and our fantasy lives. His story is tailor-made for Kip Williams’ adaptation.
From theatre-maker Rebecca Meston, Hits has deep understanding of the almost religious experience of concerts.
Rising has great potential to transform the arts ecosystem in Melbourne. But this requires some deep consultation and consideration as it contemplates what the future holds.
Now in its 24th year, the Adelaide Cabaret Festival’s annual celebration of all things cabaret sparkles and shines.
Robert Menzies is outstanding as a physically feeble yet emotionally volatile Lear.
Anchuli Felicia King’s play American Signs at the Sydney Theatre Company thrusts us into the world of a campus hire at management consultancy ‘The Firm’.
The work highlights that there may be no singular perspective on what is right and wrong in this rather complex and nuanced world.
If you’re in need of a queerly spiritual intervention, or more simply looking for a show that will stay with you, I urge you to experience Homo Pentecostus at Malthouse.
Symphonie of the Bicycle is a tribute to the value of laughter and comedy, and the power of theatre in these ruthless times.
Belvoir’s new play Nayika: A Dancing Girl blends music, dance and drama using a neo-classical version of Bharatanatyam dance.
Kontributor teratas
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Associate Professor of English Literature, University of Sydney
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Adjunct Associate Professor, Auckland University of Technology
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Researcher, The Australian Centre, The University of Melbourne
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Associate Professor of Theatre Arts, Curtin University
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Lecturer in Theatre, The University of Melbourne
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Senior Lecturer, Discipline of English and Writing, University of Sydney
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Senior Lecturer in Theatre and Performance Studies, UNSW Sydney
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Lecturer, Performing Arts, UniSA Creative, University of South Australia
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Senior Lecturer, English and Theatre Studies, The University of Melbourne
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Associate Professor, History, Macquarie University
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Senior Lecturer in Art and Performance, Deakin University
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Lecturer in English, University of Newcastle
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Professor of Creative Arts, Griffith University
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Senior Lecturer in Theatre and Performance, UNSW Sydney
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Senior Honorary Research Fellow, The University of Western Australia
