Caravan tells the tale of a mother and daughter who live in a caravan. Staged in the Malthouse Theatre’s forecourt, it is a sweet look at class and gender.
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Australian rapper Joelistics and producer James Mangohig bring their family histories to the stage through a breathtaking display of beats, raps and storytelling.
Taylor Mac’s 90-minute version of a 24-hour history of pop music is a hit, determined to forge a renewed sense community with the audience.
Kuro Tanino’s Dark Inn is a contemporary take on traditional Japanese theatre, contemplating the darkness of desire.
Laser Beak Man and its superheroic puppetry will delight young and old at the Brisbane Festival.
Big Heart at Theatreworks questions Australia’s generosity through the tale of a woman who adopts a child from five continents.
The Rover begins with 17th-century playwright Aphra Behn inviting those who don’t like the idea of a female writer to fuck off, setting the tone for a hilarious and utterly relevant romp through Naples.
The Sound of Falling stars brings 31 male singers who died young, including Sid Vicious, Jim Morrison and Jeff Buckley, back to life, and forces us to question our role in their fates.
‘Well behaved women seldom make history,’ wrote historian Laurel Thatcher Ulrich, and Revolt. She said. Revolt again. at Melbourne’s Malthouse Theatre takes the idea to its apocalyptic extremes.
Queer life thrived in 1940s Sydney despite policing and prohibition, as a new production of the musical Only Heaven Knows demonstrates. But it was not to last.
The Book of Exodus is a provocative work that sees children retelling the biblical tale.
Mr Burns is a dazzling meditation on the meaning of theatre through The Simpsons.
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.
It’s one thing to read Irvine Welsh’s grim tale of 1980s Scotland - it’s another to see it happen three feet away from you.
China’s demographic experiment come to life in Little Emperors, but not always successfully.
A new production of Edward II by the ‘bad boy of Elizabethan drama’ breathes fresh life into the play, accentuating the story’s political and psychological dimensions.
Musical theatre is on the rise in Australia. Still, if more subsidised companies invested in new works, we might yet see the Great Australian Musical.
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.
The ghost, in this autumn’s Royal Exchange Theatre production of Hamlet, is in the light bulbs. Hung over the stage, they flicker and hum as they mark Old Hamlet’s movements. They also set the scene for…
Top contributors
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Associate Professor of English Literature, University of Sydney
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Senior Lecturer in Theatre, The University of Melbourne
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Research Affiliate, Monash University
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Researcher, The Australian Centre, The University of Melbourne
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Lecturer, Performing Arts, Adelaide University
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Lecturer in English and Writing, University of Sydney
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Senior Lecturer, Discipline of English and Writing, University of Sydney
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Senior Lecturer in Art and Performance, Deakin University
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Lecturer, Te Herenga Waka — Victoria University of Wellington
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Associate Professor of Theatre Arts, Curtin University
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Associate Professor & Postgraduate Research Coordinator, Western Australian Academy of Performing Arts, Edith Cowan University
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Associate professor in Theatre and Performance Studies, UNSW
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Professor of Creative Arts, Griffith University
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Senior Lecturer in Theatre and Performance, UNSW
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Lecturer in English, University of Newcastle