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...
Oceania
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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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...
Read More
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...
Read More
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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“Parts of Life Will Be Damaged Forever” — Arts Workers Describe the Pandemic’s Impact on Their Mental Health
The arts industry is among the most devastated by the pandemic. Artists and arts workers often...
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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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UNESCO Cities of Literature Short Play Festival 2019
In September 2019, the UNESCO Cities of Literature Short Play Festival took place in Dunedin, New...
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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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Dame Kate Harcourt And the Art of the Senior Actor
In June 2017 the eminent New Zealand actor Dame Kate Harcourt celebrated her 90th birthday at...
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As COVID Wreaks Havoc in the Performing Arts, Do We Still Need a National Opera Company?
Anyone looking for evidence of just how devastating the COVID-19 pandemic has been to Australia’s...
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“Fission”: Entangling Science, Theatre and Mātauranga Māori.
In the era of Covid 19, when our theatres have been forced to close throughout Aotearoa/New...
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Eva Mullaley On The Pandemic And Post-Pandemic Theatre
The Yirra Yaakin Theatre Company is the Australia’s biggest Aboriginal-led theatre company. Yirra...
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At Moments Like These, We Need a Cultural Policy
Written by Julian Meyrick, Julianne Schultz, and Justin O’Connor National crises, like the...
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An Interview with Tim Minchin, Writer and Star of the New Australian Television Series: “Upright”
Upright, a new Australian television drama, co-written by and starring the multitalented Tim...
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Invisible Diaries: Lay Your Burdens Down Day
I’ve hit the wall. The big move is over but moving the “small stuff” all day reminded...
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Invisible Diaries: Who Is That Masked Man?
It’s TRIV NIGHT! Some TV People we know have kept the community vibe going by organizing online...
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New Zealand’s Virtual Covid-19 Lockdown Festival
Zoom became the tool-de-jour for work meetings and social interaction with family and friends – and its potential for creating Lockdown Theatre was immediately explored, using either Facebook Live or YouTube as platforms for the recorded shows.
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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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As We Turn to Creativity in Isolation, The Coronavirus is a Calamity on Top of an Arts Crisis”
Some years ago, I traveled to Israel for a conference on dramaturgy. Losing my way at the train...
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“Dance Nation” Review: An Outrageous Depiction of Girls Grasping their Emerging Sexuality and Power
Review: Dance Nation, directed by Imara Savage. State Theatre Company South Australia and Belvoir...
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Flawless Live Stream of Award-winning New Zealand Solo Show Celebrates Transgender Tdentity
Princess Boy Wonder, performed by George Fowler (aka Hugo Grrrl), Directed by Lori Leigh, BATS...
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Henrietta Baird’s “The Weekend” Proves the Enduring Power of Solo Performance
If this year’s Sydney Festival is any indication, the monologue is back. So far, I have seen...
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“Family Values:” David Williamson’s New Uncomfortable, Confronting Play
The newest play from Australia’s most prolific playwright sees David Williamson in vintage form....
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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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“Lady Tabouli” Review: A Hilarious Comedy About Suffocating Expectations
Review: Lady Tabouli, directed by Dino Dimitriadis, National Theatre of Parramatta for Sydney...
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“Black Drop Effect:” Indigenous Voices Offering New Historical Perspective
Review: Black Drop Effect, directed by Felix Cross for Sydney Festival Aboriginal and Torres...
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“The White Album:” Finding Community and Solidarity in Joan Didion’s Play Adaptation
We tell ourselves stories in order to live. – Joan Didion, The White Album Theatre can be many...
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“The Visitors:” A Witty Imagining of What Went Before that Fateful Encounter
Seven senior lawmen discuss what to do about approaching ships in Frederick Copperwaite’s...
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Kitchen Aromas and Angels with Water Guns: Japanese Visual Storytelling Comes Alive at OzAsia
Review: The Dark Master and Totes Adorbs ♥ Hurricane, OzAsia Festival, Adelaide, 22 October...
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Re-visiting Sartre with a Pacific Twist: “Uma Lava” by Victor Rodger
Uma Lava by Victor Rodger, Circa Theatre, Wellington. 23 November – 7 December 2019. Directed by...
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“Orpheus and Eurydice:” A Bold Reimagining Through Circus and Opera
Orpheus and Eurydice, directed by Yaron Lifschitz, Queensland Performing Arts Centre. The story of...
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Stop the World, I Want to Get Off! In “Exit Strategies,” One Woman Leaves and Leaves Again
To perform an exit is not as simple as it sounds. In fact, exiting a situation can be almost...
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Together As One: New Zealand’s First Festival of Solo Performance
TAHI Fess’s: New Zealand Festival of Solo Performance, Artistic Director: Sally Richards....
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“From Darkness” Review: Family Loss And Sorry Business that Invokes Laughter And Tears
From Darkness is a story about the aftermath of sorry business – Aboriginal rituals that are...
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“Anthem:” A portrait of Melbourne’s Working Class
What does it mean to be an “ordinary” Australian in anatomizing and globalized world economy?...
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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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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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“Re-Storying the Southside”: A Polynesian “Midsummer Night’s Dream”
Dream The Black Friars Theatre Company, Mangere Arts Centre, Auckland, 18-21 September 2019 Where...
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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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