Playwright Larry Kramer has been a polarising figure in queer politics. But this production of The Normal Heart in Sydney feels more urgent than ever.
- Associate Professor of English Literature, University of Sydney
A new adaptation of Max Porter’s novella brings the story of devastation and tentative renewal to the stage at Belvoir St Theatre, Sydney.
Dracula has always lived somewhere between the written word, screen projections and our fantasy lives. His story is tailor-made for Kip Williams’ adaptation.
Eamon Flack’s production captures well – and with a lovely, light touch – the sense of fleeting memories that are, nevertheless, still available to us.
Oscar Wilde’s extraordinary script is delivered with sharp wit by an extraordinary cast and placed within a production that exploits the dialogue for its viciously comic potential.
The Sydney Theatre Company’s adaptation of the book is both more poignant and more life-affirming from the dry bones of the original.
Gaslight, fog, and mysterious doorways abound in STC’s Strange Case of Dr Jekyll and Mr Hyde, a play which is a complex portrait of morals being realigned in a new world of discovery.
In an unexpected pleasure, Paige Rattray places the stage directions of Arthur Miller’s play front and centre.
Kip Williams’ modern telling of Julius Caesar asks us to consider just how political stories are told, re-told, and told again.
When the future is clearly changing but we can’t focus on tomorrow, should we just keep dancing? Pamela Rabe anchors the absurdity of The Cherry Orchard.
Actor Eryn Jean Norvill’s portrayal of all the characters in The Portrait of Dorian Gray triumphantly illustrates Oscar Wilde’s notion of the self as a form of performance.
In a new production, Ibsen’s play is transformed to small-town Australia with the whistle-blower at the centre of the story played by Kate Mulvany.
Nakiah Lui’s Blackie Blackie Brown is an explosive collision of genres that executes Indigenous justice with extreme prejudice.
Nakkiah Lui’s Black is the New White takes 17th-century comedy of manners and uses it to probe race and class to great effect.
Ayad Akhtar’s Disgraced explores the contemporary conflict between Islam and the West by exposing the fear and loathing lurking beneath personal relationships.
Seventeen is the story of teenagers on the brink of adulthood; its canny trick is a cast of actors in their 70s. Despite this, it’s a conservative play that adheres to a predictably happy ending.
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