Review: Giselle (The Australian Ballet)
Ako Kondo seems to float through the air in a divine performance as Giselle.
Jo Litson is the Editor of Limelight Magazine. She took up the position in late 2018 having joined the magazine as Deputy Editor in 2016. During a 35-year career as an arts journalist she has been a contributor to numerous publications including Limelight, The Australian, The Bulletin, and the Qantas magazine. She was the arts writer and theatre reviewer for The Sunday Telegraph for 12 years until 2018, and has written the labels for the Archibald Prize for the Art Gallery of New South Wales for over 20 years.
Ako Kondo seems to float through the air in a divine performance as Giselle.
Matthew Lutton directs the first professional staging of the epic play in two decades.
The composer and soprano tells Jo Litson about Eumeralla, the first major Australian choral work written in an Indigenous language.
The young playwright wins another honour for The Almighty Sometimes, while Behrouz Boochani, who is locked up on Manus Island, is given a special award.
Kerrie Anne Greenland brings a traditional touch to some familiar showtunes.
The composer tells us about his new song cycle for two sopranos, piano four hands and strings, which premieres at the Coriole Music Festival.
Amber McMahon and Sharon Millerchip discuss performing in a play where the characters are at a silent retreat.
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.
Jonathan Biggins gives such an uncanny performance you’d swear he’s Keating in this hilariously funny, astute, inspiring show.
Australia’s premier opera companies have joined forces to produce the first major revival of Jimmy Chi’s 1990 musical.
A clever musical that moves forwards and backwards through a broken marriage.
Aside from the dancing, there’s little real fever in this underwhelming adaptation of the 1977 film.