Theatre

The new Malthouse adaptation of Daphne du Maurier’s The Birds powerfully conveys the estrangement of the familiar that is the essence of horror.

A polymath of the stage, Gillian Cosgriff brings her new show to the upcoming Adelaide Cabaret Festival, steering away from topicality to interactive games.

A theatre maker’s theatre maker, Tim Etchells and his company, Forced Entertainment, have existed long enough for their non-hierarchical approach to become radical again.

Eddie Perfect’s enjoyably excessive adaptation of Tim Burton’s Beetlejuice is a gothic fantasia.

In Pamela Rabe and Nick Schlieper’s steely co-production of Happy Days for Sydney Theatre Company, Winnie isn’t pretending – she’s surviving.

Set pre-Trump 2.0, this Red Stitch production of  The Comeuppance by Branden Jacobs-Jenkins inspires vertigo in its depiction of a world already greatly changed.

Bullied as a child for being different, Paul Capsis – set to star in Oscar Wilde’s De Profundis – rose to become one of Australia’s iconic theatre artists.

The new Australian musical Bloom is a warm, funny and occasionally sentimental look at very real problems in aged care.

Melbourne Theatre Company’s thoughtful revival of David Williamson’s 1971 play on male violence, The Removalists, shows how little has changed.

Marion Potts’s staging of Henry 5 for Bell Shakespeare is a study of its beautiful language, and the breathtaking cruelty that resonates today.