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 first city to embrace skateboarding instead of trying to ban it will be a better, smarter, safer place, argues Big hART's Scott Rankin.
Ageism is pernicious in the theatre scene, writes Dino Dimitriadis, and our veteran actors are not the only people missing out.
Once allows Cameron Daddo to showcase another side of his performer personality - and show off one of his most treasured possessions.
That show-stopping body? Just a year of hard training, says Muriel's Wedding actor Stephen Madsen.
The sudden closure of an inner city venue points to a structural weakness in our independent sector, write KXT co-artistic directors Suzanne Millar and John Harrison.
If you want to represent a community, find someone from that community and employ them to do it, argues Sweatshop's Winnie Dunn.
Imagine Gough Whitlam breaking into song following the Dismissal in 1975. What would he have sounded like? Laura Murphy has the answer.
Youth theatre should not be training for thought and action in the future, argues Iris Simpson. It should be training for now.
Stories of everyday injustice add heat to a work inspired by Senator Penny Wong's Election Night woes.
Anthony Skuse talks to US playwright Jen Silverman about her play Wink, and, most importantly, asks what kind of animal she would be.
Way back, Tony Briggs recalls, someone approached him with the idea of turning The Sapphires into a play for an all-white cast.
Naomi Price pays loving homage to the Fab Four and their extraordinary catalogue of songs through the eyes and voice of a female artist.
Sydney's independent theatre scene creates great product, argues actor and producer Matthew Cheetham. But it struggles to sell it.
The sudden closure of an inner city venue points to a structural weakness in our independent sector, write KXT co-artistic directors Suzanne Millar and John Harrison.
Youth theatre should not be training for thought and action in the future, argues Iris Simpson. It should be training for now.
Merrigong Theatre Company aims to build a new audience alongside new work from young and diverse creatives.
