Bell Shakespeare’s New “King Lear” Understands The Joy Of A Good Tragedy
It is a common reflex to reach for Aristotle’s Poetics to determine what a good tragedy should be....
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Sydney
Sydney Theatre Company’s “The Importance of Being Earnest”: Fresh, Funny and Completely Joyous
It is easy to forget that when Oscar Wilde’s The Importance of Being Earnest was first written and...
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I Can’t Imagine Anybody Would Come Out Of “On The Beach” And Not Hold Their Loved Ones Just That Little Bit Closer
Review: On The Beach, directed by Kip Williams. When Nevil Shute wrote his 1957 novel On the...
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Sydney Theater Company’s “Julia” Powerfully Imagines the Life and Emotions of the Woman Behind the “Misogyny Speech”
Just over 10 years ago, then-Prime Minister Julia Gillard stood up in the House of Representatives...
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We’ve Been Editing Shakespeare’s Plays for 400 Years— But Does a New Australian Production of “The Tempest” Idealize the Bard?
Review: The Tempest, directed by Kip Williams, Sydney Theatre Company. The Tempest, first...
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“We are a Nation of Jailers”: “Jurrungu Ngan-ga” is a Whirlwind of Bodily Resistance
Review: Jurrungu Ngan-ga, directed by Dalisa Pigram and Rachael Swain for Marrugeku Jurrungu...
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A Tight, Living Room Drama of a Family in Crisis, “Appropriate” Explores Truth-Telling and Dark Histories
Wesley Enoch’s exuberant return to the Sydney Theatre Company to direct African-American...
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“Playing Beatie Bow” is Brought to Thundering Life in a Joyous Stage Production
Playing Beatie Bow is the coming-of-age story of the teenage Abigail, who, from her home in...
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In Conversation with Yve Blake, Fangirling on the Fangirls
From Beatlemania in the sixties to 2010 boy band sensation One Direction, to today’s global...
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Drawing Inspiration in a Pandemic — Breath Has Always Been Central to Theatre
Wrapped in COVID-Safe vigilance, Australian theatre has cautiously begun to welcome back...
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Sydney Festival Review: “The Rise And Fall Of Saint George” Shows The Transformative Power Of Music
The Rise and Fall of Saint George is a story about place, belonging, and community that taps into...
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Sydney Festival Review: Circa’s “Humans 2.0” is a Visceral Delight
Review: Humans 2.0, directed by Yaron Lifschitz, Circa at Sydney Festival The black circular stage...
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Sydney Festival Review: Politics of Care in Force Majeure’s “The Last Season”
Review: The Last Season, directed and choreographed by Danielle Micich, Force Majeure at Sydney...
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The Picture of Dorian Grey review: Eryn Jean Norvill Stuns in all 26 Roles
Review: Sydney Theatre Company’s The Picture of Dorian Gray, directed by Kip Williams Australian...
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Review: “Cursed!” is a Play of Outrageous Wit and Deep Thought
Review: Cursed! by Kodie Bedford, directed by Jason Klarwein Tucked away at the back of the...
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“Wonnangatta” Review: Australian Theatre-Writing at its Provocative and Powerful Best
Review: Wonnangatta by Angus Cerini, directed by Jessica Arthur, Sydney Theatre Company Theatre is...
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“Wonnangatta” Review: Australian Theatre Writing At Its Provocative And Powerful Best
Review: Wonnangatta by Angus Cerini, directed by Jessica Arthur, Sydney Theatre Company Theatre is...
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“Breaking Glass” Review: Sydney Chamber Opera Livestreams Premiere
There are very few silver linings that have developed from the current catastrophic health crisis,...
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The Power of Proximity and the Theatre of Touch: What Losing Live Audiences May Mean for Theatre
Being close to others is intrinsically associated with theatre. In Shakespeare’s London, theatre...
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“Bran Nue Dae” Review: Exceptional Singing And Music Obscure The Political Heart Of This Classic Australian Musical
Review: Bran Nue Dae, by Jimmy Chi and Kuckles and directed by Andrew Ross for Sydney Festival....
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