Sydney Festival: Homer’s account of the last weeks of the 10-year siege of Troy is the HBO series of its time.
Sydney Festival: A hypnotic, cross-cultural music and dance collaboration, where the audience are also performers.
Sydney Festival: A deep dive into the world of the Whiteleys has theatre maker Kim Carpenter revisiting conflicted feelings about his own direction in art.
Audrey review: True to the essence of the hip hop and spoken word genres it straddles, Since Ali Died is as personal as it is political.
A timely illustration of the ways in which Australia transforms those who come here and is itself transformed.
Sydney Festival: A new work about a small town Australian family, finding hope and embracing life after trauma.
Sydney Festival: Schaubühne Berlin and Complicite's Simon McBurney present a newly prescient portrait of a Europe stumbling toward chaos.
Longer reads. Big ideas. More than just the skinny.
Got a few minutes? Spend some of them on Audrey’s long-form writing on theatre, dance, opera, and performance in Sydney and beyond.
American writer Jen Silverman's plays suggest true happiness can come only from bold action and reinvention, writes Adriano Cappelletta.
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.
The shows that we at Audrey Journal loved, the productions we admired, the stories we were moved and shaken by.
Make a creative’s heart sing, writes Ang Collins. It's not that hard to do.
Arts funding in Australia is a car crash argues Big hART's Scott Rankin in a newly published Platform Paper.
Tongan-Australian writer Winnie Dunn speaks to the Voice, Agency and Integrity Report produced by Diversity Arts Australia.
Why would a "Capital-A Actor" choose sex work? It's more than just the money writes "Adelaide".
Les Mis 1000 times? 85 (and a half) viewings of Wicked? Actor George Kemp goes in search of Australia's theatre obsessives.
A play might be good, bad or indifferent but nothing will keep Grahame Best - the Standing Ovation Man - from rising to his feet.
Kiriaki Koubaroulis works in the creative industries in diverse roles within local government and non-profit sectors in both the visual and performing arts.
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