Don't assume Rove alumni Peter Helliar is a play-it-safe family friendly comedian. His new stand-up show Snazzy breezily drifts from inoffensive stories to the lair of the dark and dirty, writes Luke Buckmaster.
The three most important words in a comedian's head reverberate through Simon Keck's mind: "make 'em laugh." In this sprawling stream of consciousness spiel, the Australian stand-up shares with readers a journey into the green room inside a comic's mind.
John Howard stars in Every Breath, an overwrought, hamfisted, career-killing play at Sydney's Belvoir St theatre. It reeks of the stench of death, writes Lloyd Bradford Syke.
Celebrated Australian stand-up Justin "Hamo" Hamilton's The Goodbye Guy delivers a fast paced array of gags and anecdotes from a slick and endearing comic, writes Luke Buckmaster.
Comedy blogger Matt Smith calls up the hotel room of comedian Ross Noble, who yacks about being a rock star, accepting pitches for TV gigs and an unusual event at this year's Adelaide Fringe Festival.
John Logan’s play Red appropriates the name and works of expressionist painter Mark Rothko to give legitimacy to a laboured diatribe about the purpose of “art”, writes Ben Packer.
Lyndon Terracini is embarking on a revolution to make a night out at the opera fashionable again, starting with his $12.5 million outdoor extravaganza La traviata, writes Tom Cowie.
Mike Nichols' revival of Arthur Miller's magnum opus Death of a Salesman, starring Philip Seymour Hoffman as Willy Loman, is the hottest ticket in Broadway, the show arguably more relevant now than when it was written, writes Sam Tanenhaus.
This production of The Wild Duck, adapted from Henrik Ibsen’s classic play, takes its cues from the language of TV in order to bring a classic text to a modern audience, writes Lloyd Bradford Skye.
Marry Packed To The Rafters (or even Neighbours) with Beaches and you’ve got Rita Kalnejais’ stage production Babyteeth, directed by Eamon Flack.
