‘What makes directing worthwhile are the people who you do it with.’
Jane Dempster/AAP. Bell Shakespeare's production of Tartuffe, 2014.
'Theatre directors come in two kinds: "star" and "of use". I'm in the latter category, which means that, for any given play, there are at least three or four other directors who could do it equally well.'
We need to consider what balance we want to achieve between the heritage and contemporary arts.
AAP Image/Julian Smith. Artists of the Australian Ballet rehearse for the The Dream.
Given the pressure being applied to the majority of people working in the arts sector, we would be foolish not to consider the roles and inherited rights of Australia's major performing companies.
Sophiline Cheam Shapiro (L) in rehearsal with one of the members of the Sophiline Arts Ensemble. Khmer Arts Theater, Takhmao (Kandal Province), Cambodia. June 26, 2015.
Photo by Chris Philips
New stories can offer insight on alternative ways of living out our lives. As the experience in Cambodia shows, the performing arts can help us face up to enormous challenges and possibilities.
At its best, opera can, indeed, be a powerful form of allegorical theatre.
EPA/Gian Ehrenzeller (Image from Verdi's I due Foscari)
A gang-rape scene in a new London staging of Rossini's Guillaume Tell was greeted with audience booing, and has sparked ongoing controversy. Are opera directors at risk of miscomprehending the medium?
Stage musicals, such as the Rocky Horror Show, don’t necessarily make sense. Nor do recent changes to arts funding.
AAP Image/Paul Miller
In cultural policy every good idea becomes a bad one if the context is confused. The fact there wasn’t initial clarity around the Program for Excellence indicates it will probably do more harm than good.
Savile on stage.
© Helen Maybanks
The cast have made a personal and emotional sacrifice in entering into the nightmare world of Jimmy Savile. And for that, they deserve our respect and praise.
The Waiting Room explores the love, loss and hope of IVF.
Covering love, loss and IVF, Kylie Trounson's latest play explores the life of her own father, pioneering biologist Alan Trounson, and the invention of IVF.
Andrew Bovell’s adaptation of Kate Grenville’s The Secret River is a key example of post-Apology theatre.
AAP Image/Heidrun Löhr
It's been seven years since Kevin Rudd delivered his apology to Indigenous Australians. On Australia's stages dramatists continue to explore the ramifications of that apology and colonial history.
In search of the Maloja Snake.
© Carole Bethuel
The film is a brilliant and nuanced study of the relationship between a younger and older woman.
The pantheon of the Bard’s plays is now larger by one – or so the headlines would have you believe.
You'd be forgiven for thinking Double Falsehood was recently "found" and confirmed as being by Shakespeare. But that's not what the researchers behind the computational tests actually said. So what's up?
Right now, do we need light jokes about slightly potty old Blighty?
Fearne Cotton photographed for a Wonderland-inspired magazine shoot, 2006.
© Ellis Parrinder
Meet four women who have lived, breathed and worked to actually become Alice.
A considerable musical accomplishment – in some ways.
© ENO/Hugo Glendinning
Tansy Davies's opera raises serious questions about the appropriation of horrific events into art works.
Bowie performing in Toronto, 1976.
Bowie and the Bible have long been tied together in the work of director Ivo van Hove.
Soon on stage.
Peter Jordan/PA Archive
Is it too soon for this dark episode to be recreated on stage? Not if it is handled properly.
Napoleon’s Return from Elba: dramatic enough.
If you'd taken a trip to the theatre in 1815 Paris, chances are that the stage would be political.
A captivating new program of contemporary dance has just opened at the Sydney Dance Company.
Sydney Dance Company
A thrilling double bill of contemporary dance opened this week in Sydney: the Australian premiere of William Forsythe's Quintett and Rafael Bonachela's new work, Frame of Mind.
Nothing to Lose invites the audience to engage with the richness, nuance, and variety of fat bodies.
Ally Garrett, by Toby Burrows
Nothing to Lose, by dance theatre company Force Majeure, invites the audience to engage with the richness, nuance, and variety of fat bodies and fat experiences.
Storytellers can’t agree whether 16th-century consort Gracia Hosokawa was a victim or a hero.
The story of 16th century Japanese woman Gracia Hosokawa has been told many times but storytellers can't agree on whether she was a victim or a hero.
Theatre critics are a vital point of mediation between the stage and the audience – and they must do their job with care and discernment. Tom E. Lewis onstage at the Malthouse in 2014.
AAP Image/Jeff Busby
Theatre reviewing should be a public judgement pronounced with discernment. So what are we to make of those who do it badly?