Athol Fugard’s semi-autobiographical masterwork explores the nature of friendship, and the ways people are capable of hurting even those they love.
Beth Steel's Susan powerful play, originally performed at Hampstead Theatre in 2014, marks the 30th anniversary of the British Miners Strike.
Fraser Orford delves into the world of on-demand musical theatre and comes up smilin'. Everything you need to brighten your day, right here.
It is now time for King Lear to pass on his power to the next generation. But he’s too used to the privileges he's taken for granted all his life.
Somehow anticipating that the world needs more laughter right now (how did they do that?), the 2020 competition was an all comedy affair.
Over the next 3 weeks, in a pilot program, online audiences will be able to access great Australian theatre captured live onstage.
This film adaptation of David Ireland's black comedy blends live capture of performance from the iconic Royal Court Theatre stage production with location shooting in Belfast.
This production brings The Cherry Orchard full circle, with its wandering band of characters never at peace, but finally back home.
Berlin’s Schaubühne has made available an extraordinary program of theatre online, with performances captured live in its famous Lehniner Platz theatre.
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.
Opera Australia has today contacted all its staff with regards to their immediate future with the company.
John Harrison is a theatre maker and leads Westmead Hospital's Clinical Emergency Response Team. He has advice for the arts community that needs to be taken seriously.
Sydney Theatre Company shelves three shows as magnitude and possible duration of COVID-19 crisis becomes clearer.
The rapidly evolving response to COVID-19 will have a profound effect on Sydney's theatre and live performance industry. Latest developments and announcements here.
Mary Anne Butler's new play for ATYP amplifies youthful voices and depicts difficult choices faced by Top End teenagers on the threshold of adulthood.
Shakespeare had huge faith in the young actors who gave us the original Juliet, Lady Macbeth, or Rosalind and Viola. So why don't we, asks George Kemp.
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?
How do representations of Black masculinities manifest theatrically? With multiplicity, in a million ways, argues writer and performer Rebekah Robertson.
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.
Anna is an actor, playwright and director deeply invested in the process and mechanics of storytelling for live performance.
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Fraser has spent his professional career working in commercial theatre and musical theatre.
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