Got a few minutes? Spend some of them on Audrey’s long-form writing on theatre, dance, opera, and performance in Sydney and beyond.
Why would a "Capital-A Actor" choose sex work? It's more than just the money writes "Adelaide".
A rising star anchors a burgeoning mainstage career to her love for the indie sector.
Hail, Caesar! Kenneth Ransom relishes the prospect of playing one of the best short roles in Shakespeare.
“We don’t hate,” says the Wharf Revue's Jonathan Biggins. “I actually pity politicians tremendously.”
It takes a live-wire to electrify a venue in danger of losing its mojo.
Les Mis 1000 times? 85 (and a half) viewings of Wicked? Actor George Kemp goes in search of Australia's theatre obsessives.
Declan Greene fires back at comments made by Wesley Enoch in his Nick Enright Keynote Address.
A rising star anchors a burgeoning mainstage career to her love for the indie sector.
Festival Fatale producer Tara Clark argues we need a proudly feminist theatre festival now more than ever.
Hugo Chiarella charts the three years of excitement and frustration that went into the creation of a new Australian musical.
Members of Bell Shakespeare's groundbreaking acting ensemble talk about their experiences on the road with Julius Caesar.
A new musical at the Hayes Theatre begins at the point where an era of Australian showbiz history ends.
NORPA in Lismore offers performing artists much more than a subtropical getaway.
Why would a "Capital-A Actor" choose sex work? It's more than just the money writes "Adelaide".
Poetry meets astrophysics in Alana Valentine's story of a woman's work overlooked.
