From The Doors to Manson, the end of the California Dream as observed by the great Joan Didion.
From acclaimed Australian composer Liza Lim, a swarming percussion work of dramatic and ritualistic power.
Betty Blokk-Buster invites Sydney Festival audiences into her tent show, where a live band and her coterie of has-beens, battlers, freaks and survivors await.
More than a play about sport, Black Cockatoo is a story of resilience, resistance and inspiration.
Bringing together a deadly team of Aboriginal, Torres Strait Islander and Māori artists, Black Ties re-imagines the rom-com wedding trope from a First Nation’s perspective.
James Elazzi‘s piercing and deliciously funny-until-it’s-not play is an unflinching examination of culture clash in contemporary Australia.
French superstar Isabelle Adjani stars in a radical restatement of a John Cassavetes classic.
Clan leaders meet on Gadigal land as the First Fleet arrives. Should they bid welcome or declare war?
Queensland-based techno troublemakers Counterpilot present a new work deploying biometric sensors and live voting systems to seek out truth in a world of fake news.
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.
The fifth annual Lysicrates Prize is, for the first time, an all comedy competition. Lee Lewis explains why.
It’s hard to imagine David Williamson stepping away from the theatre completely, but he insists 2020 will be his final as a working playwright.
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.
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.
Tommy is an award-winning playwright with recent productions in New York, San Francisco, Auckland, Melbourne, Sydney and London.
Read More
