Kip Williams and a top cast explore the truth and mendacity in Tennessee Williams’ play.

The Farm stages a B-grade thriller viewed from inside your own car.

He found fame with his iconic screen persona, but not everyone knows Charlie Chaplin was a gifted violinist who composed the scores for every one of his films. Clive Paget talks to Philippe Quint, who has arranged a dozen of his greatest hits, about The Little Tramp’s musical connections.

A major Marcel Duchamp retrospective comes to the Art Gallery of NSW.

The fugue has long obsessed composers and musicians, who have found in it pinnacles of intellectual and spiritual expression. Canberra International Music Festival's Artistic Director unravels the mysteries of the complex form, with which Johann Sebastian Bach praised God and King.

The composer's new multi-choral work for Sydney Philharmonia Choirs is his largest yet. He explains how Bach's Magnificat and the 'bullet time' technique from The Matrix inspired his music.

Whether you’re recovering from open heart surgery, getting over an ex, or simply craving some ‘auditory cheesecake’, listening to music has a profound effect on your brain.

Ahead of his tour with the Melbourne Chamber Orchestra, the US-based Australian pianist tells us about ditching medicine for music, fight-or-flight on stage, and why he went skydiving after the Rubinstein Competition finals.

The celebrated fashion designer, and arts patron, grew up in Italy listening to the garbage men singing arias. But it wasn’t until she moved to Australia that a life-long love for opera was kindled.

Artistic Directors of ballet companies are usually male, as they all are in Australia. But here, the Executive Directors are all female. Dilshani Weerasinghe and Jessica Machin tell Jill Brown about their relationship with their artistic counterparts, and the future directions they want to shape.

Peggy Glanville-Hicks should be a national icon. So why is she not better known? Hugh Robertson, Label Manager at ABC Classic, explains how the ABC is raising the profile of Australian women composers.

Ahead of his performance of Bach's St Matthew Passion, the organist and director explains why he ditched the Mendelssohn to edit his own version of the ‘greatest story ever told’ for Perth.