Got a few minutes? Spend some of them on Audrey’s long-form writing on theatre, dance, opera, and performance in Sydney and beyond.
Lee Lewis' 2019 season showcases the elements that make Australian plays sing in a world fast losing its faith in the explicable.
Why would a "Capital-A Actor" choose sex work? It's more than just the money writes "Adelaide".
Audrey review: American artist Nick Cave's monumental installation inspires wonder, promises change.
Les Mis 1000 times? 85 (and a half) viewings of Wicked? Actor George Kemp goes in search of Australia's theatre obsessives.
When anything over 90 minutes is considered long-haul, why do we still make marathon theatre?
Tongan-Australian writer Winnie Dunn speaks to the Voice, Agency and Integrity Report produced by Diversity Arts Australia.
“We don’t hate,” says the Wharf Revue's Jonathan Biggins. “I actually pity politicians tremendously.”
A rising star anchors a burgeoning mainstage career to her love for the indie sector.
Ahead of his reimagined Nosferatu, Saro Lusty-Cavallari asks, is it time to cut the moment open just to see how it bleeds?
Want to be part of Playlist 2019? Get your skates on, writes Kate Gaul, you have until Monday.
Christopher Tomkinson gets bare for the Bard.
Damien Ryan's Rose Riot joins the dots to make sense of Shakespeare's History cycle.
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.
Audrey Journal looks back at some of the outstanding productions by a company that never does things by halves.
Dino Dimitriadis is preparing a “farewell of sorts” with his Apocalypse Theatre Company production of Mary Rachel Brown’s All My Sleep and Waking.
Director Tessa Leong from Adelaide's isthisyours? talks with playwright David Williamson about their all-female, three-actor re-imagining of The Club.
