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Australian theatre
August 2026
A job that changed me
A job that changed me: Being a theatre usher cracked open my heart to beauty
Fire destroyed Belvoir theatre’s precious ‘library of things’. Now it is rising from the ashes
The Nightline review – listening to messages from anonymous callers is an odd, affecting experience
Break of Day review – Kat Stewart is superb in this deeply moving portrait of Australia’s working class
Animal Farm review – Orwell goes outback in this subversive, rowdy stage adaptation
A Beautiful Noise: The Neil Diamond Musical review – finally, a jukebox musical that really works
Fiddler on the Roof review – a superlative cast welcomes you into a vibrant, revitalised musical classic
July 2026
Uncle Vanya review – celebrity casting and cringey modernisation undercuts uneven Chekov
It’s the vibe: Australian comedy classic The Castle set to become a stage play
The Oresteia review – this body-shaking, blood-soaked opera is exhilaratingly wild
It took months for an LGBTQ+ arts pop-up to resurrect an old church – but just three days to shut it down
Bennelong in London review – Indigenous warrior meets the actor playing him in this funny, clever play
Musical theatre is in crisis, and not just in Australia – but the success of this small gem offers hope
Tim Byrne
What actually happens when your heart breaks? A hit play with classic breakup songs unpacks the ‘universal experience’
Doubt: A Parable review – Sam Reid and Pamela Rabe go head-to-head in electrifying drama
June 2026
10 Chaotic Questions
Heather Mitchell: ‘I got the biggest reaction for playing Donald Trump – but I really enjoyed playing Bill Clinton’
Ganesh Versus the Third Reich review – stunning, provocative work claps back to a new world of fascism
10 Chaotic Questions
Virginia Gay: ‘Shakespeare’s most overrated play? Hamlet. Too long’
Walk with ...
Pamela Rabe: ‘I find wandering up and down the aisles of Officeworks very calming’
May 2026
Retrograde review – newcomer Donné Ngabo is dazzling as Sidney Poitier in this taut drama
Ryan Calais Cameron’s play dramatises a real meeting the film star had in the 1950s that became a moral reckoning
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