The problems that plague Australian arts and culture long predate 2020, but this year's crises have thrown them into vivid relief.

Ben Wheatley’s new adaptation of Rebecca opts for safe nostalgia over du Maurier’s conflicted subtext.

Covid-19 containment measures have led to unprecedented shutdowns in the arts sector, with small companies and independent artists in the greatest jeopardy.

Despite some shaky moments, Benjamin Law’s Torch the Place is filled with humour and heart, and breathes new life into the Australian tradition of naturalism.

Though it never quite coheres, The Feather in the Web takes some sharp digs at contemporary society and is bolstered by an excellent cast.

While Australian artists face challenging times, brilliant work is still being staged.

Both riotously funny and achingly true, Apocalypse Meow: Crisis Is Born confirms Meow Meow as one of the world’s finest cabaret artists.

Although it has moments of genuine power that convey the inhumane conditions faced by asylum seekers, The Audition never quite coheres.

Acerbic and powerful, The Shadow Whose Prey the Hunter Becomes exposes the exploitation of people with disability, and continues Back to Back Theatre’s tradition of making groundbreaking work.