Cassie Tongue

It’s an indictment that it has taken more than 60 years to see A Raisin in the Sun – one of the great plays of the English-speaking canon – on the Australian stage.

Michelle Law’s body-swap play, Top Coat, is a fun ride – but don’t look for any real profundities.

A new Sydney production of Sarah Kane’s iconic play Cleansed reveals the love that persists beneath the world’s brutality.

Caryl Churchill’s radical dramatic language captures the complexities of moments rich with change.

Aided by the spectacular backdrop of Sydney Harbour, this production of The Phantom of the Opera is easy to love.

Carissa Licciardello’s adaptation of John Cassavetes’ Opening Night at Belvoir offers teasing glimpses of what might have been.

Material aspiration clashes with true romance in Glace Chase’s open-hearted play Triple X.

The Sydney Festival opens with work that pushes against structures of promise and oppression.

This year’s Liveworks at Sydney’s Carriageworks considered what performance might be if we’re not present to make or share it.

The STC’s Australian premiere brings a sense of compassion to the musical adaptation of Alison Bechdel’s groundbreaking graphic novel Fun Home.

John Bell’s solo show One Man in His Time reveals his mastery of Shakespeare’s language – and the limitations of the classic English writer’s claims to universality.

Although Covid-19 restrictions enforce a lack of spontaneity, this year’s Sydney Festival feels like spiritual healing.

Returning to the stage after almost two decades, Alma De Groen’s Wicked Sisters now reads like a study of the generational failures of white feminism.