Highlights include new full-length ballets by Graeme Murphy and Stanton Welch, Les Ballets de Monte-Carlo in Lac, and a new Resident Choreographer.
Jo Litson is a freelance arts writer and the arts editor and theatre reviewer for Sydney’s Sunday Telegraph. During a 25-year career she has been a contributor to publications including The Australian, The Bulletin, Limelight magazine, the Qantas magazine, POL Oxygen and the Sydney Theatre Company’s Backstage magazine among many others.
Life looks busy for the young conductor with new positions at Sydney Chamber Choir, Christ Church of St Laurence, and Gondwana Choirs.
Bruce Beresford’s film Ladies in Black is about to grace the screen. Composer Christopher Gordon tells us about his music, which suits the 1950s period but doesn’t sound like the score from a movie of that era.
Ahead of her return to Australia, the German violinist tells Jo Litson how she used to listen to her parents make music under the grand piano, as well as her special connection to Hindemith.
Lucas Jervies is creating a new Spartacus for The Australian Ballet. As he tells Jo Litson, he is exploring ancient Rome through a contemporary lens, and even incorporating wrestling techniques into his high-impact choreography.
Pantomime and slapstick rule the day in a gleefully brash production.
The versatile, busy UK composer talks about her sublime score for Memorial opening soon at Brisbane Festival and London’s Barbican Theatre.
Garry McQuinn, the lead producer of Priscilla Queen of the Desert, has announced a partnership with NIDA and Destination NSW to develop the show.
Despite Justin Fleming’s witty, rhyming text this production never quite gets into top gear.
Highlights include an epic in Sydney Town Hall, a new play about the Packer Dynasty, and Colin Friels in Life of Galileo.
New Zealand baritone Benson Wilson has won the 2018 Bel Canto Award, while the Elizabeth Connell Prize went to French soprano Claire de Monteil.
It was inspired by a children’s pop-up picture book. Founding Artistic Director Miles Gregory explains why the Pop-up Globe has been delighting audiences so much you can often hear the noise from 200 metres away.
A cleverly staged show that is gory, ghostly and very well performed – though not really that scary.