The Bloody Chamber brings light to the grotesque realities of the darker undertones of the fables and fairy tales we tell to children at bedtime. And Alison Whyte's is a star turn.
Marius von Mayenburg's breakthrough 1997 play is a dark tale of one nuclear family playing with fire. But there's a lack of dramatic tension here -- a case of being lost in translation?
This is compelling and compulsory theatre. Persona, Fraught Outfit's theatrical adaptation of Ingmar Bergman's 1966 film, somehow matches the film's brilliance.
Moving Parts is written from the head, not the heart. Despite quality performances, it will go down as a bold but failed experiment.
For the second time in its 159 year history, Melbourne's Flinders Street Station will be redesigned by a competition winner. Alan Davies shares his thoughts ahead of this week's winners announcement.
In solidarity with Caroline Criado-Perez, threatened with rape on Twitter because she suggested Jane Austen should feature on British banknotes, S.A. Jones has anti-trolling techniques from the great lady herself.
Young people take grammar more seriously than you'd think, writes Allie Severin.
A small play about a big boy, Beached comes to Griffin Theatre with a strong pedigree. But while the characters are well drawn, it doesn't all come together, writes Lloyd Bradford Syke.
A new play lets Pauline Hanson (and others) speak for herself, with a theatrical treatment of Parliament's Hansard and other transcripts. It's one for the political wonks only.
Ensemble Theatre stays true to Tennessee Williams' first hit play, but falls short of doing it justice, writes Lloyd Bradford Syke.
