“I would resist the idea of Palestinians being seen as victims. An oppressed people can always fight back, and through theatre we can offer our own perspective rather than just the spectator’s perspective.”
Browsing: Stage
Content warning: mentions of sexual assault David Ireland’s Ulster American cannot be easily summarised, though it certainly provokes. The meta-theatrical…
Each piece of the show spotlights the sheer talent and enduring impact that POC have had on the performing arts, and the necessity of cultivating this inclusive atmosphere in all theatre, everywhere.
Misa’s performance art is not exclusively catered to intellectuals and critics: it is for the people.
A one-woman show, Tell Me On a Sunday necessitates extraordinary endurance for the performer; Clare sang effortlessly with the stamina of a marathon runner.
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
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).
