At its best, the play Return to the Dirt reminds us of our mortality and the extraordinary people behind the scenes involved in our passing.
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George Orwell’s 1945 novel is given a playful contemporary adaptation by Black Swan State Theatre Company.
A theatrical version of Trent Dalton’s novel is both an exploration of masculinity and an exuberant love letter to Brisbane.
In a bold new play, all of humanity takes a drug to induce a year’s hibernation.
Minor human errors beautifully show Tokyo’s opening ceremony for what it is: real people in real time.
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.
Dogged, a new play at Griffin, seeks to tell both sides of the Australian story, exploring ideas of territory, guilt and culpability.
Loosely based on the ABC journalist’s own experiences, Stop Girl opens up a story about PTSD after war.
Artists Ian Wilkes and Poppy van Oorde-Grainger invite audiences to walk where the first contact between Noongar and white settlers at Lake Monger took place.
Mararo Wangai is captivating in his play, which captures the truth of being Black African in Australia.
Produced by Perth’s wunderkinder ensemble The Last Great Hunt, Whistleblower is about the thrill of the risk when you throw the audience into the spotlight.
In this brilliant new adaptation, Chekhov’s The Cherry Orchard is transported to Manjimup, 300 km south of Perth, and the Australia of the 1980s.
This new play based on Martin McKenna’s memoir tells a difficult story with theatrical skill and artistic heart.
Kate Mulvany’s adaptation of Ruth Park’s Playing Beatie Bow thrums with heart, humour and a sense of creative legacy.
Through the whale’s journey from life to death, Caleb escapes the emotional toll of his situation, and finds his path forward.
A celebration of life, love and resilience, The Rise and Fall of Saint George is a restorative experience.
Yaron Lifschitz’s spellbinding physical drama has just the right amount of play, death-defying tricks and whimsical imagery.
Force Majeure’s The Last Season, directed by Danielle Micich, forges a stimulating but disjointed narrative.
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 Kodie Bedford’s first play, Bernadette returns to her family in Geraldton – where everything is as mad as ever.
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