The rivalry between Pablo Picasso and Henri Matisse has been likened to a boxing match. With a new exhibition in Canberra setting their artworks side by side, we explores the complexity of the pair’s relationship, and how it transformed art in the 20th century.
Jansson J. Antmann talks to Neil Armfield and artist Abdul Abdullah about how religious, sexual and identity politics feature in many of the works in this year's Adelaide Festival.
A lifelong love affair with the French language meant that when asked to sing the devilish villain in Gounod’s radically different original version of Faust, the British bass-baritone didn’t think twice.
Australian composer Lisa Young tells us about her new work Sacred Stepping Stones which Gondwana Choirs will perform at the Festival of Summer Voices.
For 50 years, David Williamson has been reflecting contemporary Australian society on stage. He talks about the addiction of playwriting, his two new plays, and why it’s best to retire now, while audiences are still coming.
The founder and artistic director of Tenebrae talks about the choir's latest trip Down Under.
Cellist Camilla Tafra explains how she and a group of musicians are weaving French baroque music into a tale about gods, mortals, demons and nymphs.
Co-writer and co-director Lucy Moss discusses the hit musical SIX about the six wives of Henry VIII, and writing some songs for Courtney Act.
The British actor who for 25 years captivated millions worldwide as Agatha Christie’s fastidious Belgian detective, Hercule Poirot, talks about his new stage show Poirot and More: A Retrospective.
Hofesh Shechter's Grand Finale was one of Limelight's top dance shows for 2019. Olivia Ansell, the Sydney Opera House's Head of Contemporary Performance, reflects on the choreographer's rich body of work ahead of the Sydney season.
As Bran Nue Dae, Australia’s first Aboriginal musical, returns for a 30th anniversary production, Associate Director Naomi Pigram discusses why the show is so important, and why it made her feel excited and proud when she first saw it as a teen.
Resident Puppetry Director Gareth Aled explains why the puppeteers on War Horse become “proper horse geeks”.
With Shrek and Fun Home headed our way, the composer talks about her love affair with musical theatre and why she keeps a Stephen Sondheim mask on a shelf in her studio.
