The opening scene of The Cake Man, recreating the arrival of the British in Australia.
Robert Merritt, author of The Cake Man, grew up on the Erambie Mission at Cowra. His play captures the grinding poverty and emotional paralysis of the mission experience.
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.
Craig McLachlan (centre), playing the role of Frank-N-Furter, rehearses with the cast of the Rocky Horror Show in 2015.
It is important for actors to 'de-role' after performing their character – but this is not something they routinely do.
Maura Tierney (second from left) plays Germaine Greer, Scott Shepherd (far left) and Ari Fliakos (second from right) both play Norman Mailer, and Greg Mehrten as Diana Shilling (far right).
The Town Hall Affair is a recreation of a 1971 debate between Germaine Greer and other feminists and Norman Mailer. It feels exceptionally prescient in 2018.
The cast of Muriel’s Wedding: the Musical, a co-production between Sydney Theatre Company and Global Creatures.
© Lisa Tomasetti
From Muriel's Wedding to a suite of budding new shows, 2017 was a great year for original Australian musicals.
A scene from The Cocoa Butter Club: Midsumma Special, a special cabaret performance that will make its Arts Centre Melbourne debut on Friday, January 19 2018. It uses a NOTAFLOF ticketing system.
A new form of ticketing is becoming more popular in the arts – and it might help us be more charitable than before.
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.
If theatre, film and TV is to accurately reflect the world we live in, then the actors cast must reflect that diversity too.
Self-expression from the streets.
Performers engage in theatrical world-building in Germinal.
Germinal has the intentional naivete of a long brainstorm, made concrete with stage props, music and projection, but it rumbles through some incredibly sophisticated concepts.
Queen of controversy, Katie Hopkins.
Ian West/PA Archive/PA Images
The stage is the perfect place to explore dark thoughts.
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We're told VR will let distant audiences experience live shows from the comfort of their living room – but what if no one goes anymore?
Nicci Wilks and Susie Dee in Caravan.
Tim Grey Photography
Caravan tells the tale of a mother and daughter who live in a caravan. Staged in the Malthouse Theatre's forecourt, it is a sweet look at class and gender.
Joelistics (left) and James Mangohig in In Between Two.
Australian rapper Joelistics and producer James Mangohig bring their family histories to the stage through a breathtaking display of beats, raps and storytelling.
Taylor Mac performs in The Inauguration at the Melbourne Festival.
Taylor Mac's 90-minute version of a 24-hour history of pop music is a hit, determined to forge a renewed sense community with the audience.
The four rooms of a Japanese ryokan revealed in The Dark Inn.
Kuro Tanino's Dark Inn is a contemporary take on traditional Japanese theatre, contemplating the darkness of desire.
John Fead, Shakespeare and his contemporaries, 1851.
The first recorded performance of the theatre company that Shakespeare co-founded was at a playhouse south of the Thames, but was lost to historians for centuries. Now we know where it lies.
Peter Cummins as Monk O’Neill in the 1972 Australian Performing Group production of A Stretch of the Imagination.
David Williamson and Jack Hibberd tower over Australian drama. Williamson's The Department and Hibberd's A Stretch of the Imagination both showcase the strange yet compelling detachment of these playwrights' visions.