Audrey review: School of Rock coasts happily on its charm and the talents of an ensemble that makes everything look easy.
Audrey review: A crackling firestorm of trailblazing testimonies derived from real life experiences.
Rudy & Cuthbert will throw the biggest party Sydney has ever seen, or will they crack under pressure?
Audrey review: Not the most highly polished of productions but its rough edges suit the never-say-die mood of the story being told.
Audrey review: A novel, joyfully heated portrayal of first love, the irreversible changes it brings about, and the obstacles placed in its way.
Audrey review: Kate Gaul's production of Gilbert and Sullivan's nautical comedy turns the topsy-turvy inside out.
Audrey review: A decade on from its Australian premiere, Billy Elliot still soars above the ever-expanding pack of musicals spun from movies.
Audrey review: Kurios invites its audience into a Jules Verne-inspired future-past full of surprises and charm.
Audrey review: It’s been eight years since Bell Shakespeare tackled Much Ado. Eight years in which our world has spun hard under that of the play.
Longer reads. Big ideas. More than just the skinny.
Got a few minutes? Spend some of them on Audrey Journal’s long-form writing on theatre, dance, opera and performance in Sydney and beyond.
In a newly published Platform Paper, Alison Croggon considers the state of critical writing in Australia and asks, should it disappear, to whom would that matter?
If love can blossom between a boy and a fox, then what else is possible, asks Lee Lewis with her season-ending production First Love is the Revolution.
How do representations of Black masculinities manifest theatrically? With multiplicity, in a million ways, argues writer and performer Rebekah Robertson.
Bell Shakespeare programs its first female Hamlet and The Comedy of Errors in its 30th birthday year.
Actor Michelle Ny argues for conscious rather than colourblind casting. "I came from somewhere, I have a background, and I’m not ashamed of that."
Sydney's independent theatre scene creates great product, argues actor and producer Matthew Cheetham. But it struggles to sell it.
The sudden closure of an inner city venue points to a structural weakness in our independent sector, write KXT co-artistic directors Suzanne Millar and John Harrison.
Imogen Gardam, winner of the 2018 Rose Byrne Scholarship for Emerging Female Leader in the Arts, on why she looks forward to "disappearing back into the shadows".
The 2018 Philip Parsons Lecture: The myth of the general audience must go the way of the myth of the average Australian, says Alana Valentine.
Les Mis 1000 times? 85 (and a half) viewings of Wicked? Actor George Kemp goes in search of Australia's theatre obsessives.
Rudy & Cuthbert are a pair of silent clowns doing their best to fit in with the 21st century.
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Tommy is an award-winning playwright with recent productions in New York, San Francisco, Auckland, Melbourne, Sydney and London.
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