From her role as sleuth Jessica Fletcher in Murder, She Wrote to originating some of the most famous roles on the stage, Lansbury’s career was impressive and expansive.
A still from the NT at Home recorded production of Amadeus.
Marc Brenner/National Theatre
Streaming has made theatre more accessible to a wider audience. However, it needs to be monetised and shouldn’t take the place of live theatre, which is in dire need of funding.
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.
David Woods and Eloise Mignon in the Malthouse’s production of Blasted.
Photo Pia Johnson
The central journey in Blasted is not a tourist trip through extreme violence. It’s the emotional journey of a bully who learns to be grateful for small acts of kindness.
Dancers in Opera Australia’s 2018 production of Aida at the Sydney Opera House.
Prudence Upton
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
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.
Shutterstock.com
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.
Cassamarca Foundation Chair in Latin Humanism and Chief Investigator, ARC Centre of Excellence for the History of Emotions: Europe 1100-1800, The University of Western Australia