Night at the White Bay Power Station: Sydney Biennale’s Art After Dark
A howling March southerly pushed cold air and bouts of rain through the streets. It turns out that this weather was perfect for the haunting melodies and evocative art pieces I was about to witness at White Bay Power Station for Sydney Biennale’s Art After Dark.
An overcast Sunday morning at the Sydney Opera House: Review of Zadie Smith in conversation with Michaela Kalowski
So why were we all there? Because ZS is a person even more interesting than the characters she writes. She is one of the greatest essayists of our time.
The Boy Problem: Review of ‘Raising Boys’
I couldn’t ignore what seemed like the ultimate patriarchal irony: that women are the ones expected to do the labour—of going to the Opera House, booking therapy appointments, monitoring children’s social media usage—to ‘fix’ masculinity.
“We will return when the war is over”: Don't Ask the Trees for Their Names at Sydney Opera House
The room became very still after that. It was one of several moments in the evening where the audience seemed to move beyond polite attentiveness into something heavier.
I Saw God at Cameron Winter
This Opera House show was expected to be a repeat of his performance at Carnegie Hall in New York: stripped bare of everything but the music and a sense of cultural occasion.
A Sickening Performance: PULP’s Review of Drag 101: A New Drag Showcase
On Friday the 13th of February, full of spite from the working day, I stumbled down the stairs of the Cellar Theatre and sat my arse down on a metal bleacher for what would turn out to be the best evening of my week.
Laneway 2026 in the Sun, Rain, and Everything in Between
The sprinkling of water sent outfits into disarray, leaving hair a little more frazzled, makeup a little less blended, and everyone a little more ready to throw themselves around a dance floor.
Everything I Saw at BODIE8
As this performance explored the common myth of the changeling baby, it interrogated the way that myths justify the othering of individuals who live outside of social norms…
“A Tomb for the American Middle Class”: SUDS’ The Humans
Part family drama, part psychological thriller, Stephen Karam’s The Humans traps the Blake family in a dilapidated New York apartment for an uneasy Thanksgiving dinner. The play peels back the horror of modern American middle-class life; debt, illness, ageing parents, and unaccomplished dreams.
It’s Definitely Fascism… Review of the Sydney Opera House’s ‘Is it Fascism Yet?’
Trump will likely last a third term at least. But we must keep laughing at him. In this absurd political climate, solar joy offers a reevaluation of the current political paradigm as impermanent. I am championing joy as resistance.
Making it up as we go along (or was that something we’re supposed to know?): The Premiere Review
If we're all just putting it on for one another, isn't it nice to think that there is a place where everyone knows it's being put on?
The 50th Annual Medical Games: 2025 Med Revue
True to the Revue genre, the skits satirised the medical department’s faults. The hypocrisy of allocating exhaustive commutes to hospital residencies was poignant.
I didn’t mean to sound religious about sub-bass. But here we are: Soft Centre Review
Sydney night air, interrupted by a frequency I can only describe as blood rushing through the body.
Sydney Fringe Festival: Doomers by Matthew Gasda
The doomers are stilted in that strange tech bro way, unable to understand the implications of even their smallest actions. Their voices and accents clash in soulless conflict.