What is left when live performance is over? Emilie Collyer traces the lingering effects of sitting in the dark
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Joel Bray’s Daddy is the latest in a series of formally audacious works that are revolutionising Australian performance. Bryan Andy unpacks its Blak and queer contexts
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Independent theatre faces huge challenges, but artists are fighting back. Ben Brooker looks at RUMPUS, a co-operative venture in Adelaide about to enter its second year
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These days, says comic Angelina Hurley, there’s no excuse not to understand Aboriginal and Torres Strait Islander cultures. And what better way to get to know them than through humour?
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Monique Grbec reports on Chamber Made’s Hi-Viz Practice Exchange, a day of connection for women and non-binary artists
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The devastating funding cuts of the mid-90s are being repeated, destroying the painstaking repairs of the past two decades. Robert Reid on this particular circle of arts hell
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How do we make systemic change in an often resistant industry? Jessica Walton reflects on an empowering symposium on disability and the arts
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From its initial season as a fringe play, Fleabag has grown to a global phenomenon. Kirsten Krauth talks to Sian Clifford about playing sisters with Phoebe Waller-Bridge
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When Tom Middleditch, a vocal advocate for neurodiverse representation on stage, saw Robot Song, his first response was rage. But then he changed his mind. This is what happened…
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‘A galvanising moment’: a conference last month on contemporary opera saw the frustrations of women creators boil over. Alison Croggon reports