“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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Australia
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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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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“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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“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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