Hope springs online in unique collaboration
A project spawned in a world-first composition and choreography initiative launches today.
A project spawned in a world-first composition and choreography initiative launches today.
Two world premieres see Daniel Riley break new ground, while Alice Topp rejoices in our national company's diamond anniversary.
The harrowing life of Van Gogh will be explored in one of six world premieres that feature in Aurélien Scannella’s tenth season as Artistic Director of West Australian Ballet.
A mixed program of contemporary works, carried by an exhilarating Australian premiere from New York choreographer Justin Peck.
Artistic Director David Hallberg's third season promises fireworks as it celebrates the company's 60th birthday with icons past, present and future.
The inaugural competition, pairing composers and choreographers to develop new works, has named Brisbane-based choreographer Monique Mangano with Blue Mountains composer Emma Greenhill.
The launch of dance collective Project Animo with five new works is exciting. Alice Topp's Patina is a real keeper but the program could be better curated.
The Sydney Celebration Gala was not just a welcome surprise, but a reminder of what a truly world-class company we have, and how much we have to look forward to in 2022.
David Hallberg’s first year as Artistic Director of The Australian Ballet has been challenging, to say the least, due to COVID, but he is full of passion and high expectations for 2022.
Dance has long favoured the young, but just because you’re not as flexible as you once were doesn’t mean you can’t communicate, says Alice Topp, who has formed a collective of independent artists called Project Animo.
Acclaimed choreographer Alice Topp and lighting designer Jon Buswell have launched a new dance collective for independent artists called Project Animo.
David McAllister’s final program as Artistic Director includes three new full-length ballets, including Anna Karenina, and a new short work by Alice Topp.
Was it parochialism (as some have claimed) or acknowledgement of a groundbreaking moment in Australian theatre that saw Counting and Cracking win Best Play?