Got a few minutes? Spend some of them on Audrey’s long-form writing on theatre, dance, opera, and performance in Sydney and beyond.
Imagine Gough Whitlam breaking into song following the Dismissal in 1975. What would he have sounded like? Laura Murphy has the answer.
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.
Our digital devices can be both tools and weapons, says Girl in the Machine playwright Stef Smith.
If you want to represent a community, find someone from that community and employ them to do it, argues Sweatshop's Winnie Dunn.
Youth theatre should not be training for thought and action in the future, argues Iris Simpson. It should be training for now.
A musical set in the streets and brothels of underworld Sydney comes home, writes Kate Mulley.
The producers of The Dismissal requested no reviews of this short try-out season. So don't think of this as one.
US composer Nico Mulhy's Unexpected News rekindles a poetic beacon of solace for generations of gay men, writes singer Brett Brown.
Imagine Gough Whitlam breaking into song following the Dismissal in 1975. What would he have sounded like? Laura Murphy has the answer.
Imagination, computer software and old plastic bottles help bring a mermaid tale to life.
Blake Erickson and Jay James-Moody bring some of the ol' razzle-dazzle to the story of Australia's greatest constitutional crisis.
"A bit of wine; a fear of failure." Janine Watson reveals what went into the adaptation of Oscar Wilde's The Happy Prince.
Playwright Eliza Oliver describes the process that saw her Trump-enraged drama morph into a futuristic sci-fi comedy.
"I don’t know whether I should feel insulted or complimented": Jamie Oxenbould goes ape to play a frustrated actor with Hollywood dreams.
