Striking, Original Theatre: Heiner Goebbels At The Melbourne Festival
When the Mountain Changed its Clothing, the Heiner Goebbels-directed show currently on at the...
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Australia
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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“The Complexity Of Belonging” At The Melbourne Festival–Reviewed
I’ve often lamented that choosing to study the most complex organisms on Earth was the dumbest...
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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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Spectacle and Tradition at the 2014 Lincoln Center Festival
In 2014, Marcina Zaccaria wrote about The Lincoln Center Festival, including productions of...
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Lachlan Philpott on the Flux in Australian Programming
Australian playwright and Fulbright scholar, Lachlan Philpott, writes about the socio-cultural...
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Amanda Macri on the Need for Storytellers: New Playwriting in Australia
Amanda Macri, General Manager at Playwriting Australia, writes about the broad range of resilient...
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Anthea Williams on Belvoir’s Important New Season
Anthea Williams, Associate Director-Literary at the Belvoir Street Theatre in Sydney, writes about...
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Cristin Kelly Goes from Expat to Expert in 100 Days
American dramaturg, Cristin Kelly, reflects on her personal project, 100 Aussie Plays in 100 Days,...
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Dramaturg Glenn Saunders on the Australian Approach to the Classics
Freelance theatre critic and dramaturg, Glenn Saunders, writes about the unique energy of...
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“Soap”: A Sexy Night On The Tiles At The Brisbane Festival
Traditionally soap is made by rendering down lard. But in this tight show, Soap, playing at the...
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We Need Language To Shock: Why “The Sublime” Gets Rape Wrong
Here are two opposing definitions of rape: Rape: a violent, criminal act almost exclusively...
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“Ugly Mugs”: ‘An Unacceptable Breach Of Sex Workers’ Privacy’
Peta Brady’s Ugly Mugs, which I saw in Sydney last week, opens with a gurney being wheeled onto...
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Mayakovsky At Carriageworks: A Telegram From An Alien Future
“I’m a poet. That’s what makes me interesting.” So begins the autobiography of Vladimir...
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Hugo Weaving Reveals Macbeth’s Weakness–And His Unhappiness
Sydney Theatre Company’s new production of Macbeth may draw attention for its star, Hugo Weaving,...
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“Henry V” Meets The London Blitz And Brings The House Down
Bell Shakespeare’s new production of William Shakespeare’s Henry V–which opened in Canberra on...
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Bard Labour: Doing Time With The Shakespeare Prison Project
Since 2006, I have led the Shakespeare Prison Project, an initiative by the Queensland Shakespeare...
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It’s Time To Adapt: We Need A Fully Functioning National Drama
Last year in Australian theatre a rare event took place: a sector-wide debate about the role of...
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Sex, Rape, And Role Models–How Women In Comedy Perform
Two performance artists in this year’s Melbourne International Comedy Festival (MICF)–the...
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Review: Love And War In “All’s Well That Ends Well”
Love is a battlefield. While Pat Benatar might have made this line her own in the 1980s,...
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