Features

Amber Haines on RED and the Power of Contemporary Dance

Contemporary dance has a unique ability to communicate what words often cannot — using movement, physicality, and image to explore…

3 weeks ago

Why theatre is becoming the antidote to screen fatigue

There is a particular kind of exhaustion that comes from having too much to watch and too little to feel.…

3 weeks ago

Michael Gow on Bringing His Play TOY SYMPHONY Back to the Shire

Michael Gow has spent decades writing about the pull of home. This June, he's finally letting it pull him back.…

1 month ago

Chaos, Ego, and a White Canvas: Toby Schmitz on ART

Yasmina Reza's Art has a deceptively simple premise: one man buys an expensive white painting, and his two oldest friends…

1 month ago

Musings on the MICF: Why we still need the Clown

There is something almost defiant about buying a comedy ticket right now. You hand over your twenty-odd dollars, you find…

2 months ago

Bernie Dieter Brings Beautiful Mayhem Back to Melbourne With Club Kabarett

Bernie Dieter does not make work that politely asks for attention. She commands it. When Club Kabarett returns to Meat…

2 months ago

Empty Tanks, Empty Seats: Why Australia’s Performing Arts Sector Says the Pressure Feels Like COVID Again

For years, the resilience of Australia’s performing arts sector has rested on movement. It depends on artists travelling vast distances,…

2 months ago

What is the Real Value of Awards Season?

Awards have long occupied a curious space within the theatre industry. They are at once celebratory and contentious, capable of…

2 months ago

Ngoc Phan on the Balance of Bringing TORCH THE PLACE to Queensland Theatre

Behind the chaos, clutter and dark comedy of TORCH THE PLACE lies something far more tender, and unsettling, a story…

2 months ago

Simone Sault Gives a Glimpse Behind the Mastery of THE PHANTOM OF THE OPERA

Few productions carry the enduring appeal asTHE PHANTOM OF THE OPERA, a work that has captivated audiences across generations with…

2 months ago