Why Barrie Kosky’s strange, dreamlike staging of The Golden Cockerel is unlike any other production of Rimsky-Korsakov’s final opera.

In 2022, Australia’s oldest professional ballet company, West Australian Ballet, will celebrate its 70th anniversary and tenth season under the artistic directorship of Aurélien Scannella.

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.