Lachlan Philpott on the Flux in Australian Programming
Australian playwright and Fulbright scholar, Lachlan Philpott, writes about the socio-cultural...
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Sydney
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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“Ganesh Versus The Third Reich” And Actors With Disabilities
This week, Back to Back Theatre‘s 2012 production Ganesh Versus The Third Reich will open at...
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The Experimental “Cadavre Exquis” At Sydney Festival
The rules of Cadavre Exquis are basic. Four directors, each responsible for 15 minutes of...
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“Black Diggers” Memorializes Indigenous WWI Soldiers
In August 2012, I was invited by the Sydney Festival to work with Wesley Enoch, Artistic Director...
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Intercultural Exchanges In “Chi Udaka” At Sydney Festival
There is speculation that the taiko drum was first used by soldiers in battle. At its best, Chi...
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Cocteau’s “La Voix Humaine” Telephone Melodrama
An unnamed woman alone in an apartment conducts an increasingly panicked conversation on the...
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