New Australian Play “D*ck Pics in the Garden of Eden” is Bold, Funny – And Very, Very Lewd
Review: D*ck Pics in the Garden of Eden, written and directed by Jeffrey Jay Fowler, The Last...
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“We Wish We’d Had This Show When We Were Kids”: Interview With “The Glitter Garden” Playwrights George Fowler and Lori Leigh
The Glitter Garden by George Fowler and Lori Leigh. Directed by Lori Leigh. Circa Theatre,...
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New Australian Play “D*ck Pics in the Garden of Eden” is Bold, Funny – And Very, Very Lewd
Review: D*ck Pics in the Garden of Eden, written and directed by Jeffrey Jay Fowler, The Last...
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“The Jungle And The Sea” Reminds Us War Is Profoundly Local, With The Intimate Negotiation Of Human Relationships
Review: The Jungle and the Sea, directed by Eamon Flack and S. Shakthidharan, Belvoir. After the...
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“RBG: Of Many, One” Is A Beautifully Crafted, Virtuosically Performed Play About Ruth Bader Ginsburg
Review: RBG: Of Many, One, directed by Priscilla Jackman, Sydney Theatre Company Writing a play...
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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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“When The World Turns” is a Profoundly Moving Theatrical Experience for Children with Complex Disabilities
Review: When the World Turns, by Polyglot Theatre and Oily Cart When the World Turns is a...
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With “My Self in That Moment” Chamber Made Gives Us a Dystopian View of Our Lost Soul in the Digital Age
Review: My Self in That Moment, directed by Tamara Saulwick for Chamber Made. In his visionary...
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Belvoir’s “Tell Me I’m Here” Looks at the Impact of Mental Illness on the Whole Family. It is a Wrenching and Beautiful Work.
Review: Tell Me I’m Here, directed by Leticia Cáceres, Belvoir. Released in 1991, the memoir Tell...
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A Blast from the Past: Les Champignons de Paris by La Compagnie du Caméléon
On June 13, 2022, I spoke with Guillaume Gay, who is operational and artistic director of the...
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A Production to Satisfy Sydney’s Darkest Imaginings: Sydney Theatre Company’s “Strange Case of Dr Jekyll and Mr Hyde”
Review: Strange Case of Dr Jekyll and Mr Hyde, directed by Kip Williams for Sydney Theatre Company...
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In Finucane & Smith’s “Future. Joy. Club.” the Joy is Much More Than the Sum of Its Parts
Review: Future. Joy. Club., Finucane & Smith The theatre of the occasion starts with a...
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With “The Tenant of Wildfell Hall” at The Sydney Theatre Company Gives Us a Brontë Adaptation for Our Moment
Review: The Tenant of Wildfell Hall, directed by Jessica Arthur for the Sydney Theatre Company...
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Comic Anticlimax in Nat Randall and Anna Breckon’s “Set Piece”
Review: Set Piece, by Nat Randall and Anna Breckon, for Rising. Nat Randall and Anna Breckon’s Set...
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“Anything & Everything” Gives Us a Glance Into the Lives Teenagers are Constructing Online
Review: Anything & Everything, Platform Arts, infinity ensemble for Rising. Anything &...
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With Nine Broadway Musicals Currently on Australian Stages, Musical Theatre is Thriving Again
With nine Broadway musicals currently playing on Australian stages – and a further three set to...
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South Australia’s Limestone Coast Was Formed from the Bones of Dead Fish. “Cathedral” Brings the Story of These Caves to the Stage
Review: Cathedral, directed by Shannon Rush for the State Theatre Company of South Australia...
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“Son of Byblos” Brings a Nuanced and Powerful Understanding of Lebanese Family Life to the Australian Stage
Review: Son of Byblos, directed by Anna Jahjah for Brave New World Theatre Company The downstairs...
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“Stay Woke” Reminded Me of The Importance of Telling Stories of Injustice by Those Most Affected by It
Review: Stay Woke, by Aran Thangaratnam, directed by Bridget Balodis. The lingering smell of...
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“Heroes of the Fourth Turning”: How Theatre Can Serve as a Mode of Inquiry into Right Wing Ideas
Why did 46.8% of Americans vote for Donald Trump in the 2020 election? Why did approximately 2,000...
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Ambiguity and Amorality: Is Douglas Stewart’s “Ned Kelly” One of Australia’s Great Forgotten Plays?
In 1943, Dolia Ribush, a Russian-speaking Latvian theatre director of medium height and...
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An “Extraordinary Collaboration” — “Watershed: The Death of Dr. Duncan” is a Sensational and Important Work
Review: Watershed: The Death of Dr. Duncan, directed by Neil Armfield for the Adelaide Festival....
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Bell Shakespeare’s “Hamlet” Highlights the “Claustrophobic Personal Dynamics” of Shakespeare’s Play
In a speech to the United Kingdom’s House of Commons on March 9, Ukrainian President Volodymyr...
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Beautiful and Deeply Impactful, a Kind of Deep Communion: “Sex and Death_and the Internet” is a Gift
Review: Sex and Death_ and the Internet, directed by Samara Hersch My last experience as an...
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“The Smallest Stage” is an Intricately-Crafted Play for Families about Incarceration – And The Power of Stories
Review: The Smallest Stage, by Kim Crotty for Perth Festival A small, white rectangle taped onto...
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A New Musical, “Panawathi Girl,” is a Fantasy of Australia’s Past — and a Critique of Australia’s Present
Aboriginal and Torres Strait Islander readers are advised this article contains names of people...
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“Theatre of the Real”: How Artists at Perth Fringe World are Stripping Down to Reveal Their Vulnerabilities
At this year’s Fringe World Festival in Perth, the “theatre of the real” is everywhere: theatre,...
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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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“The Museum of Modern Love” Reminds Us to Engage with Art – and Each Other
When was the last time you looked at a stranger in the eyes? Really looked, for an uncomfortably...
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We Get There in the End: “Return to the Dirt” Pulls Back the Curtain on Life and Death in a Funeral Home
Review: Return to the Dirt, written by Steve Pirie and directed by Lee Lewis, Queensland Theatre I...
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Fake News and Propaganda Machines: New Theatre Production Pulls “Animal Farm” into the Now
In 1937, George Orwell witnessed a boy whipping a horse. This was a catalyst for his novel Animal...
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Friday Essay: A World of Pain – Australian Theatre in Crisis
Australia’s performing arts sector has long been recognized as an ecosystem. It is a community of...
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From Pygmies to Puppets: What to Do with Roald Dahl’s Enslaved Oompa-Loompas in Modern Adaptations?
The stage adaptation of Charlie and the Chocolate Factory has opened in Brisbane. Charlie, like...
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Fringe Theatre Reaches Global Scale with Digital Platform
A new age of digital theatre is rising on the horizon, and its dawn is being accelerated by the...
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“Don’s Party” at 50: An Achingly Real Portrayal of The Hapless Australian Middle-Class Voter
The play Don’s Party premiered on August 11, 1971 at Carlton’s Pram Factory, home to the radical...
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Immersion and Spectator Self-Reckoning: “Boxing Shadows” at the Avignon Theatre Festival
One of the highlights of this year’s Avignon Festival was Boxing Shadows, written especially by...
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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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Shakespeare’s Rulers and Generals Are All Flawed, but the Books on His Leadership Lessons Keep Coming
John Bell’s new book Some Achieve Greatness is but the latest to use Shakespeare’s works to...
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“We Wish We’d Had This Show When We Were Kids”: Interview With “The Glitter Garden” Playwrights George Fowler and Lori Leigh
The Glitter Garden by George Fowler and Lori Leigh. Directed by Lori Leigh. Circa Theatre,...
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Australia’s Settler and First Nations Histories Meet in The Wild of The Bush in “Dogged”
Review: Dogged, directed by Declan Greene. Griffin Theatre Company in association with Force...
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New Zealand Covid Response Dramatized in Moving Verbatim Play: “Transmission” by Stuart McKenzie
Transmission written by Stuart McKenzie. Directed by Miranda Harcourt and Stuart McKenzie. 20...
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The Blurred Line Between Film and Theatre: An Experience of Simon Stone’s “Medea” at the Time of Pandemic
Simon Stone made a contemporary version of Medea by radically adapting Euripides’s Greek tragedy...
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Galup Theatrical Walking Tour Recalls the Dancing and Violence of the Colonial Encounter
Review: Galup, by Ian Wilkes and Poppy van Oorde-Grainger, Perth Festival with Same Drum and...
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Part Escape Room, Part Choose-Your-Own Adventure — The Whodunit Whistleblower has The Audience at its Heart
Review: Whistleblower, directed by Arielle Gray, Wyatt Nixon-Lloyd, and Tim Watts. The Last Great...
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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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Pining for St Kilda Instead of Moscow: “The Cherry Orchard” Grapples With Our Cultural Inheritance
Review: The Cherry Orchard, directed by Clare Watson. Black Swan State Theatre Company for the...
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Perth Festival Review: “Whale Fall” is a Powerful Story About a Trans Boy, and the Life of a Whale
Review: Whale Fall, written by Ian Sinclair and directed by Melissa Cantwell for The Kabuki Drop....
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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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Satiric Re-staging of Colonial Battleground : “Company Kamupene” Written and Performed by Jamie McCaskill.
Company Kamupene Written and performed by Jamie McCaskill. Presented by Tikapa Productions and The...
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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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