Theatre

Ruvarashe Ngwenya’s journey to the leading role in Tina: The Tina Turner Musical has been about learning to advocate for herself.

Sydney Theatre Company’s Julia is not so much about the former prime minister as a historically dubious showcase for the speech that made Gillard internationally famous.

For theatre director Adena Jacobs, pushing the boundaries has always been key to her art. Now pregnant and with a burgeoning career in Europe, she ponders the ‘wildness’ of creating life, the complexities of a queer family and the value of ancient stories.

Kate Mulvany’s brilliant performance as Sarah Bernhardt is the linchpin of the Melbourne Theatre Company’s Bernhardt / Hamlet.

Wang Chong’s one-man show at the Malthouse, Made in China 2.0, is high-impact metatheatre that writes its own self-criticism.

For Natalia Kaliada, co-founder of Belarus Free Theatre, performance is about bringing audiences face-to-face with the real.

The National Theatre’s All of Us is a powerful indictment of austerity but also shows the possibilities of inclusion.

Hubris & Humiliation, the Sydney Theatre Company’s enjoyable translation of Jane Austen to contemporary Sydney, could do with some gritty social critique.

After a break of 25 years, the chance to work on one of her favourite plays has lured actor, producer and director Claudia Karvan back to the stage.

Sunday, Melbourne Theatre Company’s drama about Heide’s artistic circle, risks erasing history in favour of sentimental romance.