The American dancer discusses his legendary partnership with Natalia Osipova and performing in her curated program of solos and duets coming to Sydney.
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.
While 83 percent support funding for orchestras, 80 percent admit they haven't attended a live classical concert in the past year.
STC has issued a statement confirming the passing of the acclaimed Wangkatjungka actor in Edinburgh while touring in The Secret River.
A comprehensive survey of paintings and drawings by Margaret Olley is delighting audiences in Brisbane.
The line-up includes David Williamson's final play, a co-production with Sydney Festival, and seven plays written by women.
Colin Friels gives a passionate, moving performance as Galileo in Brecht’s play, which feels incredibly relevant right now.
The legendary Broadway composer is now 92. As Chicago returns to razzle dazzle Australian audiences, he tells us about writing the show with his long-time collaborator, the late Fred Ebb, and why he hasn’t watched the television series Fosse/Verdon.
The 22-year-old mezzo soprano tells us about singing Mahler and Mozart at this weekend's Bangalow Music Festival, and her future plans.
One of our busiest playwrights is directing her new work for Queensland Theatre.
By establishing the rift between the boys too early, the production doesn't have the inexorable tension or poignancy of the book.
It’s a flawed musical, but the swinging 60s score sings and Cameron Mitchell's production is very entertaining.
They are among the 62 young dancers selected by the Royal Academy of Dance to participate in this year’s Genée International Ballet Competition in Toronto.
Premiering in Aix-en-Provence earlier this month, the radical, beautiful staging of Mozart’s final, unfinished work has electrified audiences.