DAMU-trained scenographer Jansson J. Antmann designed the Czech premiere of Andrew Lloyd Webber’s Tell Me on a Sunday. A presenter on 2MBS Fine Music Sydney and Editor of LaVie in Europe, he was Darlinghurst Theatre Company’s publicist, a regular on ABC Overnights and a regular contributor of features and reviews at Limelight.
As Currency Press turns 50 today, we talk to Nick Parsons and Wesley Enoch about the important role the publishing house has played in preserving the work of local playwrights, and changing the perception of Australia as a literary nation.
Henry Lee's pop-up exhibition Brick By Brick showcases miniature Lego reimaginings of set designs from the iconic musicals of Hal Prince.
Combining contemporary and traditional dance, Bangarra's first full-length work in three years is stunning on every level.
The Little Prince is so ingenious in conception and seemingly effortless in execution, it will continue to glow inside audience members who see it.
Directing Pinchgut Opera's first fully staged opera since the pandemic began, Mitchell Butel draws parallels between baroque opera and jazz.
A worthy retelling of Camille Claudel's story, which at last portrays her as a very real and normal woman.
Another brilliant night at the ballet, with work by Petipa, Balanchine and Forsythe, confirms that The Australian Ballet's new Artistic Director, David Hallberg, has definitely arrived.
The Australian Ballet returns triumphant with a fresh take on 20th-century canon.
The Adelaide-based contemporary circus troupe takes a bold leap forward with its latest, ambitious show.
An antipodean dream finally comes home.
Aurélien Scannella, Krzysztof Pastor and Lisa Pavane talk to Jansson J. Antmann about the impact of COVID on the ballet world.
Jansson J. Antmann, Steve Dow, Deborah Jones and Ian Whitney analyse this year’s offerings in theatres and concert halls.
Sexual freedom and the subconscious in Shakespeare’s A Midsummer Night’s Dream.
