I’m more allured by that demure woman who mostly lurks in the shadows of the off-stage, with garlands of wildflowers in her hair and brook water dripping off her clothes. I speak, of course, of Ophelia
Browsing: Stage
Reading Whitney’s poetry is a testament to the power of early-modern female writers in their ‘will’ and determination to break into the male space of writing.
It is rare that we see social issues stripped back to their impact on the individuals, yet Tusiata Avia’s play conveys experiences that are both intensely personal to her and reflective of a broader community.
Directed by Luke Joslin, Grease the Musical opened at the Capitol Theatre on April 2, delivering an electrifying production showcasing the youth subculture of teenage angst and romance in the 1950s.
While the play was certainly an ode to the whimsy and abject lunacy of the student life, the ‘60s/‘20s juxtaposition provides an opportunity to reflect on the progresses, and regresses, of Australian culture and the university system (think HECs, lock-out laws, department mergers, the commodification of tertiary study, the inaccessibility of student housing).
As part of ArtsLab: Collide’s collaboration with 107 Redfern, Leah Herbert’s Fat Girl uncovers the all-too-hidden experience of growing up…
N.B. This review features minor spoilers Achingly beautiful and gut-wrenchingly tragic, Tommy Murphy’s seminal queer play Holding the Man is…
By “record[ing] and distribut[ing] popular Australian theatre captures” with state-of-the-art digital technologies, the archives of live performance are preserved in the best quality possible.
The play was an inviting and necessary series of vignettes on the transition from girlhood to womanhood, largely communicated in monologues or dialogues.
The real strength of Screwd! lies in its inversion of the punchline. It empathises with its female characters and has us laughing squarely at the absurdity of male entitlement.
