In Cake Daddy, Ross Anderson-Doherty challenges fatphobia in all its forms while hosting a party.
"Imagination and originality, with a bit of much-needed fuck-you". Dino Dimitriadis shares his annual Queer arts joyride.
Powerful and often humorous secret stories exploring sexuality, vulnerability and desire.
On a night of drug-fuelled robbery, two young men find themselves hiding out on a rooftop.
G.bod Theatre present double bill of solo performances celebrating the lives of two very different movie icons.
A wild burlesque romp featuring a hand-picked selection of guests from across the world of queer cabaret.
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.
Actor George Kemp has taken a two-part crash course in 21st century farce. He has the bruises to prove it.
American playwright Jen Silverman talks about her "obsessive pursuit" ahead of the Sydney premiere of her acclaimed dark comedy The Moors.
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.
American writer Jen Silverman's plays suggest true happiness can come only from bold action and reinvention, writes Adriano Cappelletta.
Make a creative’s heart sing, writes Ang Collins. It's not that hard to do.
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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