Got a few minutes? Spend some of them on Audrey’s long-form writing on theatre, dance, opera, and performance in Sydney and beyond.
You pay a price for years of pretending to be someone you’re not, writes Matthew Backer, star of Young Frankenstein.
Thanks to Covid-19, Drew Fairley was trapped for two months aboard a passenger liner going nowhere. One thing prevented him from being all at sea.
Shakespeare had huge faith in the young actors who gave us the original Juliet, Lady Macbeth, or Rosalind and Viola. So why don't we, asks George Kemp.
In a newly published Platform Paper, Alison Croggon considers the state of critical writing in Australia and asks, should it disappear, to whom would that matter?
If you want to represent a community, find someone from that community and employ them to do it, argues Sweatshop's Winnie Dunn.
Director Anna Houston counts the costs involved in the COVID-19-related postponement of the Australian premiere of Is God Is - and it's more than just financial.
Youth theatre should not be training for thought and action in the future, argues Iris Simpson. It should be training for now.
Inspired by the last few years of his father's life, Thomas Campbell's solo show explores what it is to live without connection to others.
Alexander Lee-Rekers' new play The Linden Solution questions the role complacency plays in allowing hatred, racism and bigotry to call Australia home.
Lewis Treston's play takes audiences beyond youth homelessness statistics and into individual circumstances.
Suzie Miller's Prima Facie weaves years of coalface legal experience into the story of a lawyer who finds herself on the other side of the bar.
Specialising in new work is "the tougher road" but it's the most rewarding path says actor Sheridan Harbridge.
Fourth generation song-and-dance man Wayne Scott Kermond is a living link to the vaudeville tradition.
Bite Productions came within a whisker of presenting Michael Costi's play last year. But there's never been a better time than now.
