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.
A major exhibition of treasures from ancient Rome presents a distinctly old-fashioned tale of the empire's rise and expansion, which is out of step with contemporary scholarly thinking.
While thousands have called for the show to be cancelled, Insatiable actually does a good job of depicting the complex nature of disordered eating, sexuality and female pleasure.
Two new dance works allow the public to engage in a conversation around constitutional recognition and sovereignty for Indigenous peoples.
The review of South Africa's list of zero rated VAT items faces a tricky challenge of shielding the poor while ensuring that the relief isn't exploited.
Bats have symbolised everything from insanity to good luck. A new book explores their place in our collective imagination.
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.
Rozanna Lilley’s book Do Oysters Get Bored? explores the complexity of family life, contrasting her own unconventional childhood with caring for her autistic son.
Pinchgut's typically excellent production of Athalia brings vividly to life the tale of the rogue Biblical queen.
Bangarra's Dark Emu is a response to Bruce Pascoe's book of the same name. But it doesn't embrace the full potential of its source's game-changing impact.
Federico Garcia Lorca's shocking civil war play is successfully transferred to the Australian desert by the Melbourne Theatre Company.
Planet Earth II Live fuses footage from the BBC series with live orchestration. Despite some narrative flaws, it's a stirring call to look after our environment.
Dance can't literally tell history, but it can tell historical truths, as shown by Akram Khan's Xenos at the Adelaide Festival.