Adriane Daff and Eliza Scott invite you to tune into the trials and tribulations of the most famous soap opera family you haven’t met yet.
Audrey review: Madeleine Withington’s debut comedy plays with the idea of the suspension of disbelief - her audience’s and that of her characters.
Audrey review: Resurrected for a post-pandemic Silly Season 2021, Trevor Ashley’s The Lyin’ Queen is the cheap laughs extravaganza you need right now.
Audrey review: Belvoir welcomes back its audience with the theatrical equivalent of a smushy kiss and a hug that goes on too long.
Sydney Dance Company returns to the stage with New Breed, an annual celebration of the best emerging Australian choreography.
Audrey review: Kip Williams’ radically depopulated production of Shakespeare's tragedy unfolds with viral speed and intensity.
Audrey review: This Gothic yarn is a twofold celebration: first, of the healing power of storytelling; second of the magic of rough theatre.
Award-winning British playwright Bryony Lavery adapts Alice Sebold’s best-selling novel for the stage.
Audrey review: Kendall Feaver delivers a dynamic, sensitive and profound portrayal of consent, sexuality and race.
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.
Writer and director S. Shakthidharan in conversation with his mother, the revered classical Indian dancer Anandavalli.
"Hold on tightly, let go lightly": Actor and theatre-maker Catherine Văn-Davies puts 100 per cent into her work, even if it disappears tomorrow.
"Constantly in flux and questioned, rarely settled on": Shauntelle Benjamin on ADHD, gender fluidity and engaging with more people of colour in Australia’s arts scene.
Designer Eugyeene Teh is an artist fuelled by the deliberate act of giving, writes Suzy Wrong.
Hired to record an audiobook, Sydney actor Julia Robertson's "saving grace" lockdown gig has become a crash course in patience.
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?
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.
It’s just another day at the Singapore office of Clearday cosmetics. That is, until they discover that their new TV commercial has been leaked online.
Madeleine Withington is a Sydney-based actor and voice artist.
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Suzy Wrong is a theatre critic in Sydney and an actor, last seen in SBS TV's Hungry Ghosts.
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Raveena Grover is a writer, curator and creative director.
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Shakthi is a western Sydney storyteller with Sri Lankan heritage and Tamil ancestry and the Co-Founder-Artistic Director of Kurinji.
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