This production, a collaboration with local theatre artists, stages a public debate hosted by the (made up) Melbourne Trust Forum. It unfolds as part media reportage and part gameshow.
Samuel Beckett wrote Watt while hiding from the Gestapo during the second world war. It describes Watt’s journey to, within, and away from Mr Knott’s house, where Watt lives for some time as a servant.
Germinal has the intentional naivete of a long brainstorm, made concrete with stage props, music and projection, but it rumbles through some incredibly sophisticated concepts.
Caravan tells the tale of a mother and daughter who live in a caravan. Staged in the Malthouse Theatre’s forecourt, it is a sweet look at class and gender.
We all store parts of our memory outside of our head: in our phones, our computers and our friends. In 887, Robert Lepage brings his memory to life in a gloriously intricate one-man production.
In a new collaboration, Paul Kelly has joined singer Camille O'Sullivan and pianist Feargal Murray to set 100 years of Irish poetry to music. As the emerald isle is sung into being, the words of Yeats and Joyce still stand out.
What if your first contact with the Western world was witnessing an atomic test? This is the story of Nyarri Nyarri Morgan, told in stunning virtual reality in animation/documentary hybrid Collisions.
Festivals are a vibrant part of Australian culture but, as arts funding dries up, festival organisers will have to get creative if they want to survive. The recurring, physical event isn’t enough.
The Experiment – showing at the Melbourne Festival – is just that: an experiment. It aims to create a meditation in which disquieting questions can menacingly float. Does it succeed? Well …
Orwell’s 1984 is a heavily laden text, which turned the author’s name into a byword for authoritarian nightmare. So what can we take from the 2015 stage version at the Melbourne Festival?
The Melbourne Festival production of Desdemona, written by Toni Morrison and with music by Malian songstress Rokia Traore, puts the women of Shakespeare’s Othello centre stage.
Tony Morrison’s Desdemona, which opens today in Melbourne, asks many questions of its audience. Perhaps most pressingly: what does it really mean to listen, rather than hear?
Many still regard George Orwell’s 1984 and its message about the nature of language and power “definitive”. But globalisation has revolutionised how we communicate; 1984 tells us nothing about our future.
The founders of Belgian dance company Peeping Tom draw their performance language from the influential Flemish Wave movement of the late 1980s and 90s. Their 32 rue Vandenbranden is part of Melbourne Festival.
When the mountain changed its clothing, the Heiner Goebbels-directed show currently on at the Melbourne Festival, is an evasive piece of theatre, but it is through its elusive and mysterious qualities…