When the future is clearly changing but we can’t focus on tomorrow, should we just keep dancing? Pamela Rabe anchors the absurdity of The Cherry Orchard.
Street artist Rone’s return to his home town gallery is sure to draw crowds — but his definition of ‘beauty’ is conventional and narrow.
Known for her soft capturing of tonal shifts and poignant moments, painter Clarice Beckett’s legacy was almost lost to time and decay. Now her work is being celebrated in a major exhibition.
Actor Eryn Jean Norvill’s portrayal of all the characters in The Portrait of Dorian Gray triumphantly illustrates Oscar Wilde’s notion of the self as a form of performance.
While the name of the season - now online - suggests breaking through opera’s glass ceiling, the violent imagery fits the context of ecological disaster, inequality, mental illness, and dystopia.
Though galleries have since closed their doors, this reviewer got to see Mavis Ngallametta’s works in all their glory. Their birdseye view of Country provides a perspective we’re missing right now.
The 22nd Biennale of Sydney is testament to the capacity of art and exhibitions to move beyond reflection to lead dialogue, especially at times of crisis and cancellations.
Hugh Ramsay’s Two girls in white, was painted just two years before he died at the age of 28 in 1906. It is the central work in the National Gallery of Australia’s survey exhibition.
A new show by indie performer Mish Grigor, with Aphids Theatre, explores all the exit opportunities that are available to us - and some doors that are better left closed.
From Perth’s Barking Gecko Theatre and the Black Swan State Theatre Company, Fully Sikh is Australia’s first professional theatrical work about growing up Sikh in Australia.
A new opera focuses more on the personal life of artist Brett Whiteley than his artistic creations. As the opera reveals, a life like Whiteley’s does not offer a clear moral message.
Steven Oliver’s new cabaret show is an exhilarating journey through hard-hitting stories about success, love, depression and racism.
Through animation, video, light and sound, Theatre is Lying exposes how visual art, performance and theatrical devices can interrogate what is real and what is not.
Some of the best examples of horror and fantasy genre films have emerged from Australia. Unfortunately, The School is not one of them.
There is nothing to prepare us for the shock to the senses in the National Gallery of Victoria’s latest exhibition combining the works of M. C. Escher with Japanese design firm nendo.
Few classical musicians can fill out an 8,000 seat hall. But then few classical musicians are like André Rieu.
A new show pairs the acrobatic skills of Circus Oz with the local comedians Die Roten Punkte.
Malouf’s late return to poetry seems to bring him back in a new way to steadying poems that do justice to the open gaze, the sly wit, the swift imagination and the poise he has in spades.
Jodie Whittaker finally takes over as the first woman to play the Doctor in the long-running TV series. But that’s not all that’s new as the show make a welcome return to our screens.
A marvellous exhibition of Australian film stills, now showing in Adelaide, offers a form of visual ethnography.