We're celebrating our 250th issue this month. Rather than look back, we've asked leaders in the field to imagine what Australian theatremakers might be presenting when we publish Limelight #500.

The reinstatement of Khaled Sabsabi's invitation to represent Australia at the Venice Biennale is more than a symbolic reversal. It is Creative Australia's chance to restore trust, argues Samuel Cairnduff.

If Australia is to maintain a thriving arts industry, it needs to rethink its cultural leadership and governance, argues Samuel Cairnduff.

Pondering the inconsistency of memory, Guy Noble argues that rather than hold a grudge, it’s better to forgive and forget.

Sydney composer-pianist Andrei Hadap earns a $5,000 cash prize and will have his winning work debuted by the Willoughby Symphony Orchestra.

Staging a commercial musical can help finance a potentially loss-making opera, but has Opera Australia tipped the balance too far?

Creative Australia's withdrawal of Khaled Sabsabi from the Venice Biennale is not an isolated incident, argues Samuel Cairnduff. It's part of an emerging trend.

Perhaps it’s time, argues Margaret Seares, to start rebalancing the priorities between corporate drivers and artistic imperatives. 

Australia’s arts sector faces a watershed moment. It has the opportunity to become the leading space for discourse – but only if there are major changes in cultural leadership.

Travel is nowhere near as relaxing as it’s made out to be, argues Guy Noble. So, he has a novel solution – just send him your photograph.

Being a composer is not about sitting in a room writing complex symphonies, says Matthew Hindson. It's about making music that connects.

Now more than ever, the future of music is in the hands of young and emerging creatives, argues David Boyce. AI can only rehash the past.