Not So Fringe: Interactive Children’s Theatre Takes Center Stage
A highlight of this year’s Melbourne Fringe Festival, which begins tomorrow, is an expanded...
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Australia
“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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“Antigone” Now: Greek Tragedy Is The Debate We Have To Have
When you hear the words Greek tragedy, you might think of white masks, or even the ongoing...
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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“The Waiting Room,” IVF And The Sanctity Of Sex–Review
Kylie Trounson is a writer and playwright–and the daughter of Melbourne IVF pioneer Alan Trounson....
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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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The Solipsism of Risk
Australian theatre-maker, Olivia Satchell, explores the subjectivity of risk, and how artists...
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Playwriting Doesn’t Get Better Or Worse–But It Does Evolve
This is a long-read essay, the third in a series on playwriting and drama by Julian Meyrick. Read...
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Need A Stage Coach? Why Some Plays Work, And Others Don’t
We all know whether a given play, film or TV drama “works” or not, but it’s often difficult to...
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“Beauty And The Beast” Promises And Fails At The Adelaide Festival
Beauty And The Beast is the quintessential story of a young beautiful daughter who has to live...
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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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The Amateur’s Age Of Unriddling: “Finnegans Wake” On Stage
Seventy-five years after publication, James Joyce’s Finnegans Wake may finally be starting to make...
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Theatre Reviewing Is A Responsible Job–And It Requires Care
Is there any job other than theatre critic where so little knowledge can carry so much weight? If...
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Western Sydney Meets The City In Nakkiah Lui’s “Kill The Messenger”
Last week I went to the theatre. Unusual? No. But I say this because this event was real theatre...
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A National Theatre Of Australia Is Needed, And It’s Time
Sociologist Max Weber once called politics “the slow boring of hard boards”. If he had been in the...
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Q And A With Author Of “The Tribe”: Michael Mohammed Ahmad
This week, as part of Sydney Festival’s Bankstown: Live program, Michael Mohammed Ahmad will...
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Every Detail Counts In “Wot? No Fish!!” At Sydney Festival
During an artist talk just an hour before performing Wot? No Fish!! on Saturday at the Sydney...
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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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Pinchgut’s “Iphigénie En Tauride”: A Work Of Pure Theatrical Magic
In any Opera History 101 course, Christoph Willibald Gluck (1714-1787) is cited as one of the...
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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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