Melbourne indie company Red Stitch has embraced an exciting young writer in Adam Cass and given him an eye-popping canvass for high-tech drama Roam.
At Sydney's daring Carriageworks, an unlikely Irish-Chinese co-production that is playful, absurdist and rather provocative. But what does it all mean?
Funny, heartbreaking and politically incorrect: Eddie Perfect's first play is a winner. The dark satire is a razor-sharp examination of food stuff and middle-class values.
A Greek myth turned into a gay Sex In The City? Kit Brookman's adaptation of the stories around Orestes for Belvoir St is radically contemporary.
Crikey's theatre blog
Sydney Theatre Company doesn't present the definitive take on Shakespeare's classic, if such a thing exists, but Kip Williams' feministic take is a thrilling ride.
In Sydney via Timor, the genre-bending, cross-hatched Doku Rai is the kind of immersive experience you want to have in the theatre -- but rarely do.
Lally Katz's wild imagination has been tamed by Griffin Theatre and director Paige Rattray, with a restaging of her widely panned Return To Earth with just the right magic touch.
Ute Lemper held a Concert Hall audience spellbound with her song cycle based on the love poems of Pablo Neruda. Thanks to her, the Weimar era has never quite ended.
Is Rachel Collis the great, undiscovered, unwittingly underground cabaret talent of her time? Her Sydney Fringe performances sparkled with humour and poignancy.
It will be 40 years this weekend since the Sydney Opera House held its first performance, a production of Prokofiev's War And Peace. The critics loved the show -- and the venue.