The notion of the sad clown probably has its origins in prehistory; the mockery of pain and sorrow is such an embedded human trait that indigenous cultures around the world embraced it long before it became a trope of commedia dell’arte. Pierrot, with his iconic painted white face ...

Gay theatre, or at least identifiably queer theatre, has never had much of a presence in Australia; most of what we consider canonical has come from overseas. The Elizabethan stage had Marlowe’s Edward II and Shakespeare had two characters named Antonio, in Twelfth Night and The Merchant of Venice, who are ...

The idea of joining Robyn Archer – arguably the greatest cabaret artist in the country – for a night of French chanson that harks back to her seminal 1991 show Le Chat Noir was inspired. While Archer is most closely associated with German Kabarett of the Weimar, she is no slouch when it comes to interpretations of the Gallic ...

Stephen Sondheim's Follies opened on Broadway in 1971, during his most fertile period as a composer and lyricist; it premièred one year after Company and two years before A Little Night Music. It echoed the plotless structure of the former and the ambivalent nostalgia of the latter ...

Henry Lawson, in his story The Bush Undertaker (1892), refers to the Australian landscape as 'the nurse and tutor of eccentric minds, the home of the weird, and of much that is different from things in other lands'. It is precisely this otherness – this tendency toward the uncanny – that Joan Lindsay ...