Why is confessional theatre so hot right now?

Is a recent wave of confessional-style theatre revealing defining themes of our times?
Two female performers onstage in front of a yellow stage cutrain

Intensively personal, self-revelatory work has had something of a renaissance in Australian independent theatre recently.

To name a few, there’s Melbourne/ Naarm based Wiradjuri choreographer Joel Bray’s recent shows Biladurang and Daddy, both of which share the artist’s private worlds with audiences in generous and playful ways. Theatre company THE RABBLE, led by Emma Valente and Kate Davis, have also just premiered their work Yes – a piece that draws on some aspects of the confessional style to explore particular social structures behind our personal choices.

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ArtsHub's Arts Feature Writer Jo Pickup is based in Perth. An arts writer and manager, she has worked as a journalist and broadcaster for media such as the ABC, RTRFM and The West Australian newspaper, contributing media content and commentary on art, culture and design. She has also worked for arts organisations such as Fremantle Arts Centre, STRUT dance, and the Aboriginal Arts Centre Hub of WA, as well as being a sessional arts lecturer at The Western Australian Academy of Performing Arts (WAAPA).