Anima and Animus. Lucy Guerin: “Split.” The Place, London, Dance Umbrella 2019 Festival.
Lucy Guerin is one of the most innovative, postmodern choreographers on the contemporary dance...
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Australia
The “Vessel” in which Dance and Sculpture Meet
Vessel. 26-27 October 2019. OzAsia Festival, Adelaide, Australia. Now in its twelfth year,...
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Leila Waddell: Hidden Women of History
Leila Waddell (1880-1932) was a country girl from Bathurst, NSW, who entered the world stage as an...
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“Fangirls” Review: New Musical has Enough Warmth, Witty Lines and Catchy Tunes to Win its Own Fangirls
Comedy often succeeds where tragedy fails. Fangirls, the pop musical which premiered on Thursday...
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“XXX Neon Sign” Review: Embodied Performance About Working in a Brisbane Porno Shop
Review: XXX Neon Sign, composed by Dan Thorpe, Rumpus Theatre. More than perhaps any other...
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“The Shadow Whose Prey the Hunter Becomes”: Who Decides Who We re?
In 2009 I wrote an email to the artistic director of Back to Back Theatre, Bruce Gladwin, gushing...
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Australia Council and Arts Funding
Today, the Daily Review published an open letter with more than 700 signatures addressing the...
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Hollywood Onstage: Musicals Adapted From Movies
In a 2004 original musical about creating an original musical – cheekily titled [title of show] –...
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Poetic Political Theatre: A Review of “The Secret River” by Kate Grenville, Adapted by Andrew Bovell
The Sydney Theatre Company’s 2013 landmark staging of The Secret River to the United Kingdom was...
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ReMOTE: Hip-Hop Dance Meets Gaming Technology at the 2019 Kuandu Arts Festival
Returning to Taiwan for the first time since 2016, Australian-based Shaun Parker & Company is...
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Julia Leigh Continues to Explore Definitions of Womanhood in New Adaptation of Her Memoir
Review: Avalanche: A Love Story, directed by Anne-Louise Sarks, Sydney Theatre Company Maxine...
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Maxine Peake Brings Warmth and Likability to Raw, Bitter Pain in a Candid Tale of IVF Failure
Review: Avalanche: A Love Story, directed by Anne-Louise Sarks, Sydney Theatre Company. Maxine...
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Contemporary and Medieval Women’s Voices Collide in “My Dearworthy Darling”
My Dearworthy Darling is a collaboration between playwright, fantasy novelist, poet, and theatre...
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A Radical New Adaptation Eviscerates the Dominance of Male Voices in Wake in Fright
Australian literary classics are currently enjoying a comeback at our major theatre companies....
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Why Revive A Forgotten Australian Classic? Oriel Gray’s “The Torrents” Remains Relevant Today
Set in a regional Australian newsroom in the 1890s, Oriel Gray’s The Torrents is a play about...
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In Suzie Miller’s “Prima Facie,” Theatre Finds a Voice of Reckoning on Sexual Assault and The Law
Suzie Miller’s one-woman play Prima Facie is an unsparing study of the Australian legal system’s...
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In “Cloudstreet,” Nostalgia All Too Easily Redeems Australia’s Colonial Past
Set in a rambling and ageing house haunted by a colonial past, Cloudstreet is a theatrical...
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In Black Swan’s “Water” – Three Vignettes Explore the Politics of Immigration, Drought and Family Dynamics
Review: Water, Black Swan, Perth. Water, written by Jane Bodie and directed by Emily McLean, was...
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The Immigrant Dragons, Part IV: Generations United in Bendigo
Back home in Australia, the world’s largest imperial dragon joins his predecessors – and so...
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Sue Smith’s “Hydra:” How Love, Pain, and Sacrifice Produced an Australian Classic
Running through Hydra, the new play by Australian playwright Sue Smith, is the myth of Icarus, the...
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