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Reimagine the exhibition system for the Australian Life photography exhibition.
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Carlton's legendary La Mama Theatre, which last year celebrated its 50th anniversary, has been devastated by an overnight fire.
A new Senior Curator at Monash Gallery of Art, Adelaide Fringe appoints Head of Industry and Artist Fund, and more.
HIR is a black comedy that dissects the dysfunctionality of family and the general disarray that describes life, and is easily one of the best works produced of late by Black Swan Theatre Company.
Recent events may have left some artists questioning the validity of the Fringe model. Simon Abrahams, Creative Director/CEO of Melbourne Fringe, explains why Fringe Festivals are still an important catalyst for creativity and cultural democracy.
Opinions & Analysis
Rafael Bonachela's new work is stark and stunning.
Angus Cerini’s award-winning play is magnificent, horrific and remarkable.
Melbourne Recital Centre has received its largest bequest to date, and one of the most significant, from the Betty Amsden Foundation.
Director Sean O’Riordan wasn’t wrong to describe Troilus and Cressida as a 'problem play'.
Despite its flaws, Mother’s Ruin is a hell of an enjoyable performance with a clearly talented ensemble.
An exceptional performance was given by Chenoa Deemal as Jess Wright, the protagonist and narrator of this overall jovial yet poignant piece of theatre.
Hope, love, mortality, delusion, class identity and gender equity are all explored within the single setting of a 1950s inner city Melbourne lounge room.
WAAPA Executive Dean departs; Chamber Made CEO steps down; Perth Festival appoints next AD and Speak Percussion announces new EP.
Adapted for the stage by Tom Wright and directed by Matthew Lutton Bliss is a show which makes you question who is right and who is wrong – and at times what the hell is going on?
The Aboriginal actor, who starred in The Chant of Jimmie Blacksmith and The Shadow King, has died in Katherine aged 59.
What is the responsibility of theatre-makers towards live shows that either were created or are set in the past – especially when they depict events which are problematic by contemporary standards?
Willy Russell’s play, Shirley Valentine, was written just over 30 years ago. Now, in this marvelous production the play feels as fresh as if it was hot off the press.
A welcome appearance of a French rarity conducted by a connoisseur.
Alana Valentine's tale of Sydney's class struggle on stage at Belvoir St Theatre.
Far more than just a production house, The Street plays a key role in the ACT’s performing arts ecology, while also connecting Canberra’s sector with the nation.
Providing space for creativity, Ainslie and Gorman Arts Centres celebrate the making of art and music in heritage-listed buildings which speak to Canberra’s past and future.
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