The Lysicrates Prize-winner finally makes it to the stage, with something serious to say about contemporary life and mores – which it does with wit, excoriating humour and insight.

Despite strong performances and some moments that really land, this show makes one wonder – why stage this play in Australia at all?

It’s time for ageing audiences to put their demands for old-fashioned opera out to pasture.

The pianist’s debut book takes Prokofiev as a guide to explore the bigger picture.

This play about First Nations women is a remarkable achievement for its author Brittanie Shipway and the entire creative team.

This sequel to Unqualified is sharply funny, has a lot to say about virtually anything and is a glorious antidote to our current existential malaise.

Despite the best efforts of the actors, Belvoir's production of Caryl Churchill’s 1976 polemic is a bewildering waste of time and talent.

All the elements are there in Alana Valentine’s latest play, but Wayside Bride desperately needs further work to fulfil its promise.

Smith’s riotous memoir embraces the lows as well as the highs.

Alan Cumming shares his lighter side in honest and unsentimental memoirs part two.

Australia’s arch storyteller gets to tell his own story at last.

Director Suzanne Chaundy says her approach to Die Walküre is to tell the story as clearly as possible, exploring the themes without adding tonnes of obvious contemporary relevance.