Crosses to Bear
As she prepares to perform in her own adaptation of The Shiralee for Sydney Theatre Company, Kate Mulvany discusses her life and work.
Steve Dow is the 2020 Walkley Arts Journalism Award recipient for his essay, profile and reportage portfolio. The Melbourne-born, Sydney-based arts writer’s work also appears in The Saturday Paper, Guardian Australia, The Monthly, The Sydney Morning Herald, The Age, Meanjin, Art Guide, and Vault.
As she prepares to perform in her own adaptation of The Shiralee for Sydney Theatre Company, Kate Mulvany discusses her life and work.
Small companies are “vital” to Australia’s arts ecology, given “so much opera is being dictated by finances” higher up the chain, says soprano Celeste Lazarenko.
Alexander Berlage chats with Steve Dow about his current projects – the Australian premiere of a musical and the world premiere of a new Sydney Chamber Opera work.
As co-director and star, Pamela Rabe is well and truly up to her neck in Samuel Beckett’s absurd masterpiece Happy Days.
Why can't Australians get enough of Bach? We trace his appeal Down Under with musicians and musicologists.
Though there are signs of belt-tightening, there's plenty to look forward to and anniversaries to celebrate in the Australian arts in 2025.
What do our theatre companies have on offer in the year ahead?
Steve Dow talks to academics, historians and stage directors about Julius Caesar and his ongoing resonance within the arts.
Elena Kats-Chernin talks about composing the score for Adam Elliot's new claymation movie Memoir of a Snail.
Norah Bagiri and Ribina Kimiia talk about Straight from the Strait, the new musical they have co-written about an extraordinary world record.
We talk with musicians and medical experts to investigate the movement disorder that can end a musician’s career, and the search for a cure.
First Nations choreographers Moss Te Ururangi Patterson and Deborah Brown talk about working together on Bangarra's first mainstage international collaboration.
We're seeing more disability on our stages and screens than a decade ago, but there is still plenty to be done.