A fresh adaptation of one of the most extraordinary novels of all time gets inside the mind of a destitute student who commits a brutal murder.
British writer Alan Ayckbourn’s famously ingenuous trilogy traces the unravelling of a man's romantic ambitions.
As a father approaches death, his three children try to reconcile three very different experiences of the same man.
Andrew Lloyd Webber’s romantic musical follows the fortunes of a young student in post-war France.
Judy Davis directs August Strindberg's humorous yet pitiless portrait of a marriage in deep strife.
Eight of the world's best illusionists present a new show, packed with astonishing acts of visual, mental and optical illusion.
The much loved BBC series Sarah & Duck are flying south for their first visit to the Sydney Opera House.
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.
The shows that we at Audrey Journal loved, the productions we admired, the stories we were moved and shaken by.
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.
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".
When anything over 90 minutes is considered long-haul, why do we still make marathon theatre?
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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Tessa Leong works across theatre, performance and live art as a director, deviser and dramaturg.
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