A still from the NT at Home recorded production of Amadeus.
Marc Brenner/National Theatre
Streaming has made theatre more accessible to a wider audience. However, it needs to be monetised and shouldn’t take the place of live theatre, which is in dire need of funding.
How one academic found the perfect platform to share her research with the public.
A DJ provides the soundtrack of Damascus in While I Was Waiting.
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.
Hazem Shammas in Trustees: his powerful incantations towards the end of the production will leave you reeling.
This production, a collaboration with local theatre artists, stages a public debate hosted by the (made up) Melbourne Trust Forum. It unfolds as part media reportage and part gameshow.
David Woods and Eloise Mignon in the Malthouse’s production of Blasted.
Photo Pia Johnson
The central journey in Blasted is not a tourist trip through extreme violence. It’s the emotional journey of a bully who learns to be grateful for small acts of kindness.
Dancers in Opera Australia’s 2018 production of Aida at the Sydney Opera House.
Opera Australia’s new production of Aida features movable LED panels with digital scenery. It’s part of a revolution transforming the art form.
Eryn Jean Norvill as Justine in Melancholia: the play echoes and resonates with details of its cinematic predecessor.
A successful adaption of Lars von Trier’s film Melancholia breathes new life and energy into its female characters.
The cast of Victorian Opera’s staging of William Tell.
In its original form, Rossini’s William Tell went for five hours. Yet soon after its 1829 debut it was being cut for the comfort of its audience. Its Overture - a mere 12 minutes - has become one of the most famous pieces of classical music.
Gavin Webber and Kate Harman in The Mathematics of Longing.
Art Work Agency
In an ambitious new work of theatre and dance, performers read out mathematical theories then build scenes around them.
Melita Jurisic as the mother who confines her four daughters to their house for eight weeks of mourning.
Federico Garcia Lorca’s shocking civil war play is successfully transferred to the Australian desert by the Melbourne Theatre Company.
Nearly 70% of dance professionals are women, but none of Australia’s major dance companies has a female art director.
Since 2017, only 13% of full-length works by Australia’s major dance companies have been choreographed by women.
Annabel Matheson as Liddy in Terrestrial.
In Terrestrial, teenager Libby wants aliens to whisk her across the galaxy to escape her abusive father.
Josh Price, Catherine Davies and Jenny Wu in Sydney Theatre Company and Malthouse Theatre Company’s Production of Going Down.
© Brett Boardman
Michele Lee’s play is a vibrant and layered comic exploration of stereotypes, from piccolo-quaffing urban Melburnites to migrant memoirists.
Helen Morse lends her voice to the poetry of Memorial.
Memorial brings Alice Oswald’s poetic retelling of the Iliad to the stage, with its furious indictment of war and its aftermath.
Julia Hales and the cast of You Know We Belong Together.
You Know We Belong Together is a moving demand for more representation of people with Down Syndrome in the arts.
Julie Hale (left) and Joshua Jenkins in The Curious Incident of the Dog in the Night-time, an adaptation of Mark Haddon’s novel.
A theatre production of Mark Haddon’s much-loved novel is affirmative and at times deeply sentimental, with a hi-tech set, and exacting choreography.
Actors are often required to tap profound emotions in their performance, which is one of the reasons for poor mental health in the industry.
While we appreciate an actor’s craft on the stage, the deep emotions they draw on in performance take their toll on mental health. Actors need to “take off” their characters to return to normal life.
Hilary Cole, Helen Dallimore and Maggie McKenna in Sydney Theatre Company and Global Creatures Production of Muriel’s Wedding the Musical.
© Lisa Tomasetti
Muriel Heslop stole Australia’s heart when she debuted on screen in 1994. Now she gets a loving, ABBA-filled musical tribute, that is definitely not terrible.
Sophia Forrest as Eli in Let the Right One In.
Photo credit Daniel J Grant
Based on the 2004 novel, Let the Right One is a bloody staging of a vampire romance. Except in this show, the predator is a teenage girl.
Queen of controversy, Katie Hopkins.
Ian West/PA Archive/PA Images
The stage is the perfect place to explore dark thoughts.