Stuart Skelton in the title role of Peter Grimes.
Benjamin Britten’s Peter Grimes premiered in 1945, when the composer was 31. The work can be seen as an examination of the individual versus the community and the sinister potential of the collective.
Performers in Circa’s En Masse.
The incredible physical control of the Circa acrobats, and their ability to make bodies seem weightless, is breathtaking.
Maeve Marsden and Libby Wood in Mother’s Ruin.
This cabaret show about a beverage incorporates politics, feminism, history and some rousing singalong numbers.
Vicki Van Hout in plenty serious TALK TALK.
Two new dance works allow the public to engage in a conversation around constitutional recognition and sovereignty for Indigenous peoples.
David Woods and Eloise Mignon in the Malthouse’s production of Blasted.
Photo Pia Johnson
The central journey in Blasted is not a tourist trip through extreme violence. It's the emotional journey of a bully who learns to be grateful for small acts of kindness.
Constance Wu and Henry Golding in Crazy Rich Asians.
Crazy Rich Asians is good for Asian-Americans but not great for Singaporean or broadly Asian politics.
Gary Cooper as Uncle Harvey in Skylab. He offers a powerful performance as a man consumed by anger concerning the past treatment of his people.
In 1979, the American satellite Skylab crashed in Western Australia. A new play imagines what happened to an Aboriginal family nearby.
Damian Hill plays Jim, a dad looking after his son.
West of Sunshine takes place over a single day, following Jim, a courier of increasingly dangerous sorts, as he delivers packages across Melbourne.
Marcello Fonte stars as Marcello in Dogman.
In this grim and often bloody tale of dog-groomer Marcello, the canines steal every scene they are in.
Nicolai Khalezin in Generation Jeans.
A pared-down, humorous and intimate monologue, this production explores the human dimension of a political movement. It is a challenge to tacit silence and collective amnesia in Australia also.
Fans await the arrival of boyband One Direction at Sydney Airport in 2012.
Like a good pop ballad, I Used To Be Normal is energetic, colourful and masterfully anchored by a deep and earnest sentimentality.
Adam Driver as Toby AKA Sancho, and Jonathan Pryce as Javier AKA Don Quixote, in The Man Who Killed Don Quixote.
Plagued by production woes for 25 years, The Man Who Killed Don Quixote embraces the spirit of its 17th-century source material. But unlike de Cervantes, Gilliam uses the female characters as props for the hero’s story.
Photogenic Drawing, 2017,
installation view, Sydney Contemporary, Carriageworks.
Photo: Nick Kreisler Courtesy of the artist and Hugo Michell Gallery, Adelaide
The 2018 Tarrawarra Biennial explores the act of creation itself, dissolving boundaries between mind/body, physical/spiritual, and form/content. But the experience in the gallery is sometimes something of an anti-climax.
A “cloud” of Mexican freetail bats leaving their roost.
Bats have symbolised everything from insanity to good luck. A new book explores their place in our collective imagination.
Wayne Blair as Jeremy and Jada Alberts as Simone in Sydney Theatre Company’s Production of The Long Forgotten Dream.
© Heidrun Lohr
In the Sydney Theatre Company's premiere production, white guilt festers as part of the shame, the ongoing, percolating wound that is the plot-space of contemporary colonisation.
Tania Vukicevic as ‘Feminist AF’ Lysa in Lysa and the Freeborn Dames.
Dylan Evans Photography
In La Boite's premiere production, 19-year-old Lysa unleashes a one-woman protest inspired by recent women's marches around the world.
Yoson An and Rachel Griffiths in Dead Lucky.
Dead Lucky tackles issues around worker exploitation, gambling, international students and domestic violence. But it is let down by underdeveloped characters.
Eryn Jean Norvill as Justine in Melancholia: the play echoes and resonates with details of its cinematic predecessor.
A successful adaption of Lars von Trier's film Melancholia breathes new life and energy into its female characters.
Detail from John Russell:
Almond tree in blossom c1887.
oil on gold ground on canvas on plywood 46.2 x 55.1 cm.
National Gallery of Victoria, Melbourne. The Joseph Brown Collection. Presented through the NGV Foundation by Dr Joseph Brown AO OBE, Honorary Life Benefactor, 2004 (2004.216)
John Russell, who was destined to become an engineer, instead became an artist in fin de siècle France – and a friend of Van Gogh, Monet and Rodin.
But is it art…? Fast-car fans Maurice and Harry in the Art Gallery of New South Wales in ABC’s Everyone’s A Critic.
The ABC's reality TV show Everyone's A Critic puts 'everyday' Australians in galleries. It is a compelling premise for an art show, but a tad disappointing.