Jane Howard

Jane Howard is a Walkley Award-winning journalist and a contributing editor at Kill Your Darlings. Based in Adelaide and working nationally, her work for KYD has been a finalist in the SA Press Club Awards and the SA Media Awards. She tweets as @noplain.

The Hidden World of Anti-Vax Podcasts

Election 2019: State of the Arts

Animating the Inanimate: ‘Everything is Alive’ and the Art of Interviewing Objects

Beyond the Audio Guide: Podcasts and cultural institutions

History in the Making: Political Podcasts and the Irish Referendum

An Uplifting Obsession: ‘People Movers’ podcast

Small Wonders

Talking About Talking

A Bridge Between Worlds: Belvoir Street’s ‘Atlantis’

A History of Suffering: Fraught Outfit’s ‘Book of Exodus’

Finding the Words: ‘Griefcast’ and grief memoir

The Theatre of the Now

Seeing Through the Tangle

Figuring Themselves Out

Old Spaces Anew at the Melbourne Festival

Art for Kids, Kids for Art

Sink or swim: On artistic exhaustion

Practical Magic: On The Cursed Child and published playscripts

Performing Intimacy: Three Acts, Two Dancers, One Radio Host

Art in Limbo

Radical Capability: Endurance and mutation in The Second Woman

The Single Lady and the Showstopper

Beautiful Arrogance: The radical choreographies of Pina Bausch and Atlanta Eke

Cringe Festival: The cost of five-star reviews

Impossible Futures: Tomorrow’s Parties and This is How We Die

A Shining Nightmare: Mortido’s Sydney

Great Aspirations: In the shadow of Patrick White

In praise of watching theatre online

Unbearable Whiteness: Young Jean Lee’s Straight White Men

Putting Words In People’s Mouths: Performing the unseen, speaking the unknown

The Impenetrable City: Getting lost at Edinburgh Fringe Festival

A Mess of a Brain: A Girl Is a Half-Formed Thing at Edinburgh Fringe Festival

Local Courage, Global Reach: The National Play Festival

The Beautiful and the Dated: Australian Ballet’s Giselle

Adhocracy: Lifting the curtain on the creative process

This Is a Story of Artistic Excellence

Dark Side of the Rainbow: Belvoir St Theatre’s The Wizard of Oz

A Case for Diversity in Theatre

A Working-Class Mythology: Ironing boards at the theatre

Witness and Connection at Melbourne’s Dance Massive

Creative Space: The secret power of community theatres

Fringe Feminism: Women, comedy and performance art

Stuart Bowden’s Unfamiliar, Universal Worlds

Thinking Outside the Box Seats: The future of Australian opera and musical theatre

The (Sometimes) Beauty of Being Alone at the Theatre

How many women composers? Classical music’s invisible women

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