Your favourite musical theatre songs performed live by a cast including Rachael Beck, Daniel Belle and Michael Cormick.
In 2005, Druid presented the first ever staging of John Millington Synge's entire theatrical canon. It's now available to view online.
Brilliantly crafted, this parody black-and-white western from Perth's The Last Great Hunt gifts its audience with wholesome joy.
Streaming live from their homes, the cast and crew of the hilarious No Pay? No Way! will reunite to perform a full reading of Marieke Hardy’s adaptation of Dario Fo’s political farce.
Montague Basement's season-opening Old 505 production from 2019 is now available to view online.
Shakespeare’s Globe has produced an annual, schools-focused production for the past 14 years. This Macbeth is the most recent.
The Sydney Opera House makes its contribution to the plethora of online content being made available by the world’s major performing arts venues.
Unable to perform live while the country is in COVID-19 lock-down, Opera Australia has created another way to share their performances with opera fans.
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.
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.
Located in the heritage-listed Paddington Town Hall, The Reservoir Room is a new venue for these times, an intimate studio for streamed cabaret.
New Theatre is a perfect fit for The Silver Gull Play Award, writes Louise Fischer. "We look forward to taking it to the next level."
“With a heavy heart”, Griffin Theatre Company Artistic Director Declan Greene has announced an extension of the closure of Griffin until September.
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.
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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Richard Hilliar is co-artistic director of Sydney independent theatre company Tooth and Sinew.
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Violette is a Middle-Eastern Australian actor, writer, theatre-maker, and producer.
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