When I thought about my future throughout my 20s, I knew I wanted to experience motherhood but I could not fathom how my life of putting on indie shows and spending every scrap of spare time on something related to writing, directing or producing those shows (and seeing shows), would ever be compatible with having a baby.

How do we make sense of theatre in the age of literalism?

We’ve got a fresh new website to mark the beginnings of a new chapter.

Auditions to be part of the Mara KORPER ensemble!

Bravo to those who have the hunger, energy and creativity to venture into these new online forms. Bravo to those too who have identified the need to rest, preserve and sit in the unknown without their practice as they knew it, for now.

For When The Light Leaves, the importance of co-creating the visual world through conscious identification of key visual metaphors became particularly important for making sense of the play.  

Citizen Theatre is currently seeking an actor to join our next project, Mara KORPER playing at Theatre Works May 20-31st 2020.

It’s vitally important to create wonder and beauty to nourish our souls, but equally vital to create safe experiences of the unknown, that defy our expectations, surprise us and require our imagining bodies to participate. 

Forgotten Places – our first ever immersive experience and first ever fully and completely devised interdisciplinary work closed this time last week. It was such a whirlwind, as short seasons always are, so it has taken a little time to process what happened and why it was such a fulfilling project. If you have ever dreamed of making something meaningful completely from scratch, this blog is for you. 

High Line Theatre and Citizen Theatre are currently casting for their June production of ‘When The Light Leaves’ at the La Mama Courthouse.

2018 has been a huge year for Citizen Theatre.

I’m starting to think about how female bodies are used as spectacle – a concept that inevitably enables me to think about potentially problematic objectifications of women in musicals. 

Maybe you’ve seen The Female Subject, but how did the idea for a livestream performance project come about?

Anyone interested in new work, read on…

What does it mean to work 'politically' as a performing artist and how might this be helpful in working towards an experimental musical type of theatre?

When Queer and feminist theatres started to emerge, some were (and some continue to be) deliberate in avoiding the arguably conservative confines of realism. For some, realism reflected and reinforced dominant cultural norms, prescribing a ‘normal’ and killing off or demoralising anyone who didn’t ascribe to this.