A gay guy and a straight girl meet, late at night, at a bus stop in the city of London, bond over a corpse and decide to move in together. What could possibly go wrong?

Andrew Bovell, one of our best writers for stage and screen, who lives and works in South Australia, has had his latest play open simultaneously in Sydney and London.

I didn’t know anything about The Call pre-show but on hearing AC/DC being pumped through the speakers I immediately knew I was about to sit through a play about disaffected/white/uneducated/working-class men.

After decades of laughs, comic duo French and Saunders are calling it a day. But not before they go out with bang.

Candy Bowers, a lady with a big afro that matches her big charisma, had the entire audience on their feet at the end of her one-woman show – and grooving on the tiny Old Fitz stage. It’s amazing what can be done in that space but I’ve never seen it turned into a dance floor before.

It is the pleasure and perils of women's friendship that is delved into by Adelaide-based playwright Duncan Graham in his drama Ollie and the Minotaur.

Along with Patrick White, Dorothy Hewett is credited as having produced amazing lyrical epics for the stage about life on this southern continent.

If you are a regular theatre-goer, chances are you’ve sat through your fair share of stories set in blue collar America, studded with disaffected, alienated and bored characters. 

Jaw-dropping physicality, a score by Nick Cave and Warren Ellis, and one of Franz Kafka’s classic texts – don’t miss Metamorphosis at Sydney Theatre this month, writes Garrett Bithell.

Sydney in the 1950s was intolerably straight-laced. If you were a person of sophisticated or unconventional tastes, at some point you found yourself either planning your escape or taking your life.