Review: “Disgraced” Turns West-Meets-Islam Divisions Into Striking Melodrama
Ayad Akhtar’s Disgraced has arrived in Sydney from America on the back of international...
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Theatre and Politics
The Secret River, Silences, And Our Nation’s History
Neil Armfield’s new stage adaptation of Kate Grenville’s 2005 novel The Secret River invites us to...
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African Theatre: Why It’s Important to Transpose Western Dramatic Classics
The Western dramatic canon has been a source of irritation to some Afrocentrists, who see it as...
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Dinosaurs On Stage: “Jurassica” Continues Australia’s Proud Lineage Of Italian Migration Stories
The play Jurassica, currently being performed at St. Kilda Theatre in Melbourne, begins with “the...
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“Betrayal” By Harold Pinter, And Our Betrayal Of Ourselves
Some plays are ruled by a single word. It burns through their action, dark as pitch. Watching them...
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Intimidation Tactics: The Landscape of Russian Theatre
Caitlin Connell and Patrick Connelly have spent the summer in Moscow looking at the current...
Read MoreRe-Enchanting The World With Performing Arts: Stories From Cambodia
What we really need in this capitalist, power-driven, exploitative, consumerist world, according...
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“An Audience With Jimmy Savile”–This Is A Vital Play
In October 2012 ITV broadcast The Other Side Of Jimmy Savile, in which several women alleged that...
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Artistic Expression Under Threat As Conservative Tide Grows In Russia
Russia is witnessing a worrying increase in attacks on avant-garde art. A series of recent bans on...
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Review: “The Merchant Of Venice,” Shakespeare’s Comedy Of Cruelty
The Merchant Of Venice (first published in 1600) boasts a problematic and sometimes controversial...
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Built for Collapse: “Red Wednesday”
The evening that I saw Red Wednesday by Built for Collapse at the LaGuardia Performing Arts...
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Culture Wars in the Russian Theater
As the government continues to censor and cancel Russian theater performances, a group of artists...
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The “Dancer’s Body” Is Fat: Force Majeure’s “Nothing To Lose”
The fear and loathing of fat is such a ubiquitous part of contemporary Western culture that it...
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Ridley Scott’s Casting Of White Actors Is Symptomatic Of Larger Problems
Director Ridley Scott recently set off a firestorm when he dismissed those who criticized him for...
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Staging Power: David Williamson’s Portrait Of Citizen Murdoch
The Melbourne Theatre Company’s (MTC) production of David Williamson’s 2013 play Rupert has...
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“Dangerous Acts Starring The Unstable Elements Of Belarus”: Review By Jesse Kirkwood
“Belarus is not sexy. Sexy countries have oil, gas, diamonds, sea, mountains … Belarus has...
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Can Keene/Taylor’s New Play “Dreamers” Keep Us From Despair?
More than ten years after the last production by the Keene/Taylor Theatre Project (KTTP),...
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Big hART’s “Hipbone Sticking Out”: Truthful And Ambitious Theatre
Hipbone Sticking Out, the Big hART production now playing at the Melbourne Festival, begins in...
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Terrorism, Truth, and Trust – How Dramaturgy Informs Real Life
Drama and its core principles are to be found in theatres while the real world goes on outside,...
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“Black Diggers”: Out Of The Trenches At The Brisbane Festival
The performance space in which Wesley Enoch‘s play Black Diggers is being performed at the...
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