Since the inception of Vertical Shadows in 2009, the Melbourne based company has garnered a reputation for producing quality contemporary dance to sell out audiences. Artistic Director and company founder Stephen Agisilaou spoke to Australian Stage's Heather Bloom.
After appearing in the 2011 Melbourne International Comedy Festival with Unspeakable, Melbourne mime artist and physical comedian Rod Lara is treading the boards once more in Last Mime Standing. Rod spills the beans on the art of mime and why vaudeville’s classic acts will never lose their popularity with audiences.
Celebrating its 25th anniversary in 2014, Bangarra Dance Theatre is a company that has a long history. Giving back to the land is one of the most fundamental relationships that it upholds. Australian Stage's Dione Joseph speaks to Bangarra Artistic Director, Stephen Page.
With the premiere season of Monorotica coming up at the iconic Butterfly Club, Australian Stage had a bit of Q & A action with creative director, Steven Jinanai.
Matt O’Neill meets with Brisbane Powerhouse Artistic Director Kris Stewart to discuss the recent launch of Brisbane Powerhouse’s World Theatre Festival programme for 2014 – and ends up discussing so much more.
Since 1996 a band of consummate creatives have been melding and merging; changing and rearranging; pulling together a grab-bag of musical goodies that they can share with the world at large, morphing into the “complete package” that is the Blue Grassy Knoll.
Terrestrial’s author (Fleur Kilpatrick) says in the programme notes that she dedicated her play to lonely girls, bored boys, to quiet towns and “to a landscape that looks like Mars”. She adds ”landscape informs how our trauma, confusion, illness or fear manifests itself”. It does in this play.
Described as a post traumatic play, Hungary Ghosts is both complex and challenging. While conscious in its use of multiple characters and threads, commentary on national themes does give echo to a central, more personal narrative around culture, loss, belonging, patriotism and identity.
It's difficult to determine who the real star is in this piece; the exquisite writing, or the equally perfect performance. That both are the work of the same person... truly impressive stuff.
This is an emotional play with not too many dry eyes at times, but if a play and its performers can move you, make you laugh, make you cry, make you think, then a good job has been done.
It might go down a treat as a Nanny's business card, but it seems to have little currency for Tara Marice's character, Sandra in Brooke Robinson's Good Cook. Friendly. Clean.
The former Victoria Police Mounted Branch stables have been transformed into world-class teaching and learning facilities for students of the University of Melbourne’s Faculty of Fine Arts and Music following an $18 million make-over.
Ten scene books providing a unique visual record of Australia’s early theatre history, have been digitised and made available online for all to download, study and enjoy.