It is always very tempting to turn a “moment” into a “movement”: the term “in-yer-face theatre”—which, despite being in your face, is actually rather tame when compared to the broader-based “theatre and blood and sperm” of which it was a

That “reality television” is an oxymoron is fairly common knowledge. From Survivor and Big Brother to MasterChef and The Amazing Race, the “reality” of the genre has always taken a backseat to the “television” of it. The truism that observation alters the thing observed is true enough of cinéma verite

More and more, and perhaps in response to the glut of performance in fringe festivals, a smaller, more focused and, most importantly, curated kind of festival of independent works is emerging. In Australia we have Sydney’s Imperial Panda and Tiny

The Hayloft Project’s Simon Stone has, over the last three or four years, been making a bit of a name for himself as one of the country’s foremost interpreters of late 19th and early 20th century theatre, with Wedekind, Chekhov,

This is William Yang’s tenth performance piece and his well-honed signature style—a mix of anecdotal monologue and personal slideshow, punctuated with the occasional burst of live music—has never felt more elegant or intimate. An eyewitness account of Sydney’s cultural scene

Sydney has long been known as the queer capital of Australia—indeed, some would argue, the queer capital of the southern hemisphere—and the city’s Gay and Lesbian Mardi Gras, currently in full swing, remains the largest event of its type in

Written by award-winning Anglo-Irish playwright Martin McDonagh, The Beauty Queen of Leenane is the first production of the year from the Sydney Theatre Company’s educational wing, which last year brought us a worthy production of Dario Fo’s Accidental Death of an