Playwriting Australia is an organisation devoted to improving the nation’s scripts. But the drama lately has all been in the board room.
This year's Helpmann Awards controversially snubbed blockbuster theatre production Harry Potter and the Cursed Child. But is that such a bad thing?
Our main stages are increasingly packed with adapted works, and the peak body for playwrights is mired in redundancy and review. Is there still a place for original storytelling?
Harvey Weinstein may well be going to prison; Louis’s going back to premium cable. What's a little unusual is that anyone ever thought he would not be.
The legendary US playwright and screenwriter behind The Odd Couple has died, aged 91. But what of his legacy?
What may really be flattening out the mood at the festival is the "acknowledgement of country", which is played at the start of each show.
For comedy to work, here in this country, it must be truly Australian. It must evoke the minutiae of a time and place, be unashamedly local.
Coverage of Craig McLachlan's sexual misconduct allegations (or lack thereof) is highlighting the limits of rigour in Adelaide arts journalism.
Former Age opera reviewer Michael Smith's missive on why he quit has given us a reason to read online comments as the Melbourne arts community bites back.
What to do when "an extraordinary disappointment" in your review becomes "Extraordinary!" on the side of the theatre.
