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The Melbourne Festival’s AD explains that audiences in the city, and in Australia, inspire him to go further and harder.
Howard Barker’s trenchant yet playful 1981 political drama follows a dissident artist across six decades.
He was a stellar Valjean in Les Mis but you’re more likely to find Glenn Gould, R.E.M. or big band music on his playlist.
Ahead of Australian cinema broadcasts of Titus Andronicus, the RSC's David Troughton talks body counts and blood bags.
There's plenty of evidence to indicate engaging in the arts is beneficial to mental health, says Festival Director Jill Bennett.
A cast of shape-shifters takes us deep into a hallucinogenic nightmare in Malthouse and Victorian Opera's Black Rider.
Christopher Gattelli could have danced all night when Julie Andrews approached him.
Lear casts his shadow over The Father, an intriguing, confounding thriller of a play.
Director Anne-Louise Sarks has reshaped Shakespeare’s dark comedy, The Merchant of Venice, for today’s audience.
Limelight grills the playwright about his first play, which is about to have its world premiere at Sydney Theatre Company.