The cast of Victorian Opera’s staging of William Tell.
In its original form, Rossini's William Tell went for five hours. Yet soon after its 1829 debut it was being cut for the comfort of its audience. Its Overture - a mere 12 minutes - has become one of the most famous pieces of classical music.
Gavin Webber and Kate Harman in The Mathematics of Longing.
Art Work Agency
In an ambitious new work of theatre and dance, performers read out mathematical theories then build scenes around them.
Melita Jurisic as the mother who confines her four daughters to their house for eight weeks of mourning.
Federico Garcia Lorca's shocking civil war play is successfully transferred to the Australian desert by the Melbourne Theatre Company.
Nearly 70% of dance professionals are women, but none of Australia’s major dance companies has a female art director.
Since 2017, only 13% of full-length works by Australia's major dance companies have been choreographed by women.
Annabel Matheson as Liddy in Terrestrial.
In Terrestrial, teenager Libby wants aliens to whisk her across the galaxy to escape her abusive father.
Josh Price, Catherine Davies and Jenny Wu in Sydney Theatre Company and Malthouse Theatre Company’s Production of Going Down.
© Brett Boardman
Michele Lee's play is a vibrant and layered comic exploration of stereotypes, from piccolo-quaffing urban Melburnites to migrant memoirists.
Helen Morse lends her voice to the poetry of Memorial.
Memorial brings Alice Oswald's poetic retelling of the Iliad to the stage, with its furious indictment of war and its aftermath.
Julia Hales and the cast of You Know We Belong Together.
You Know We Belong Together is a moving demand for more representation of people with Down Syndrome in the arts.
Julie Hale (left) and Joshua Jenkins in The Curious Incident of the Dog in the Night-time, an adaptation of Mark Haddon’s novel.
A theatre production of Mark Haddon's much-loved novel is affirmative and at times deeply sentimental, with a hi-tech set, and exacting choreography.
Actors are often required to tap profound emotions in their performance, which is one of the reasons for poor mental health in the industry.
While we appreciate an actor's craft on the stage, the deep emotions they draw on in performance take their toll on mental health. Actors need to "take off" their characters to return to normal life.
Hilary Cole, Helen Dallimore and Maggie McKenna in Sydney Theatre Company and Global Creatures Production of Muriel’s Wedding the Musical.
© Lisa Tomasetti
Muriel Heslop stole Australia's heart when she debuted on screen in 1994. Now she gets a loving, ABBA-filled musical tribute, that is definitely not terrible.
Sophia Forrest as Eli in Let the Right One In.
Photo credit Daniel J Grant
Based on the 2004 novel, Let the Right One is a bloody staging of a vampire romance. Except in this show, the predator is a teenage girl.
Queen of controversy, Katie Hopkins.
Ian West/PA Archive/PA Images
The stage is the perfect place to explore dark thoughts.
Opera is treated differently to other artforms in Australia.
AAP Image/Tracey NearmyAAP Image/Tracey Nearmy
It is a strange reality but opera as an artform is always given special and arguably preferential treatment by governments and other influential forces in Western society. This happens, it seems, regardless…
Puppet spectacle in Laser Beak Man.
Laser Beak Man and its superheroic puppetry will delight young and old at the Brisbane Festival.
Nearly three-quarters of Australians go to live art events, such as Dark Mofo in Hobart.
New survey from the Australia Council shows pretty much all Australians engage with the arts, and 8-in-10 do so online. However more people are ambivalent about public arts funding, and more people think the arts are too expensive.
Elizabeth Esguerra, Belinda McClory and Ming Zhu Hii in Revolt. She Said. Revolt Again. at Melbourne’s Malthouse.
'Well behaved women seldom make history,' wrote historian Laurel Thatcher Ulrich, and Revolt. She said. Revolt again. at Melbourne's Malthouse Theatre takes the idea to its apocalyptic extremes.
As thrilling as they are for audiences, Australia’s musical theatre scene is dominated by productions honed on the West End and Broadway.
Musical theatre nominees at the 2017 Helpmann Awards are dominated by overseas productions. Our own productions need way more support to compete on the world stage.
The Chapel Perilous follows the life of Sally Banner “a rebel in word and deed”.
No other Australian playwright has mined their own life as much as Dorothy Hewett. In this expressionist drama, she depicts a girl of yearning heart, looking for love and hungry for life.
My Country // Sarah Lee
Scrutinising the output of a national theatre at a time of rising nationalism is a worthwhile activity, but it needs either radical intention or emotional insight.