Branden Jacobs-Jenkins’ acerbic, hilarious play is set on an old American plantation, but Wesley Enoch brings an Australian sensibility.
Academic rigour, journalistic flair
Articles on Sydney Theatre Company
Displaying 21 - 33 of 33 articles
Kate Mulvany’s adaptation of Ruth Park’s Playing Beatie Bow thrums with heart, humour and a sense of creative legacy.
Actor Eryn Jean Norvill’s portrayal of all the characters in The Portrait of Dorian Gray triumphantly illustrates Oscar Wilde’s notion of the self as a form of performance.
Angus Cerini’s gripping new play is about murder, revenge and the unsettling power of the Australian bush.
Avalanche: A Love Story, is a play based on the author’s memoir detailing the anguish of her six unsuccessful attempts at IVF. It depicts doctors who prey upon an ageing woman’s despair and the stigma attached to ‘failed’ mothers.
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.
Nakkiah Lui’s Black is the New White takes 17th-century comedy of manners and uses it to probe race and class to great effect.
An early review of Patrick White’s A Cheery Soul said it ‘upset everybody who saw it’. But this extraordinary play, once a victim of 60s cultural cringe, marked a turning point in Australian theatre.
Sydney Theatre Company now has an interim artistic director, after the sudden departure of Jonathan Church. A flagship theatre company can transform a city’s view of its place in the world, which is why the role is so important.
Ayad Akhtar’s Disgraced explores the contemporary conflict between Islam and the West by exposing the fear and loathing lurking beneath personal relationships.
King Lear manifests the neurosis of age and abuse. While his behaviour is dramatically exaggerated, we can read universal lessons on toxic family dynamics in Shakespear’s tragedy.
Lear’s mordant images and sonorous cadences throb with dire warning and a sense of imminent catastrophe. So what’s the play’s key message, for current times, with Geoffrey Rush in the title role?
On Saturday night, Andrew Upton’s production of Samuel Beckett’s Waiting for Godot opened at the Sydney Theatre Company (STC) – without provoking the executors of the Irish playwright’s estate to anger…
Top contributors
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Associate Professor of English Literature, University of Sydney
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Senior Lecturer, Discipline of English and Writing, University of Sydney
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Professor of Creative Arts, Griffith University
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Associate Professor in Media, University of Notre Dame Australia
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Lecturer in Theatre Studies, UNSW Sydney
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Professor of Drama and Theatre Studies, Royal Holloway University of London
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Professor of English, University of Sydney
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Senior Lecturer – Modern History, Macquarie University
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Macquarie University Research Fellow, Macquarie University
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Adjunct Associate Professor, Auckland University of Technology
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Associate Professor in American Literature, University of Sydney
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Associate Professor & Postgraduate Research Coordinator, Western Australian Academy of Performing Arts, Edith Cowan University
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Lecturer in Creative Writing, University of Sydney
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Lecturer in English, University of Newcastle
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Associate Professor in Performance Studies, University of Sydney
