Manifesto – Stephanie Lake Company | Adelaide Festival 2022 review
A stunning demonstration of the visceral relationship between rhythm and dance – especially when set to the driving power of drums.
A stunning demonstration of the visceral relationship between rhythm and dance – especially when set to the driving power of drums.
The premiere in this concert was Ngarrgooroon, a stunning work by Yorta Yorta soprano and composer Deborah Cheetham.
Indigenous Australian composer William Barton’s work The Rising of the Mother Country dominated this Chineke! program.
Theatregoers will be welcomed back to one of the centrepiece shows of the Adelaide Festival, after it was cancelled at the last moment on Wednesday.
Archie Roach told important stories, Lior and the ASO wove intricate soundscapes and Sarah Blasko breathed new life into old favourites.
The first Chamber Landscapes concert featured two Schoenberg works, neither a notable influence on Australian composition.
Australian Dance Theatre explores our symbiotic relationship with nature as its artistic director Garry Stewart plans his next moves.
To make up for the lack of international icons, sessions turned into topical debates that heated up as the event got underway.
Medea proved that live performance can be streamed as a visceral theatrical experience, and opens a world of possibilities.
The short 1:1 concert is nevertheless long enough to acknowledge the artist in a very different way from the concert hall.
Terrifying images, dredged from the depths of the subconscious, portray a tortured mind in a world gone mad.
Household materials turn into the main players as a solo character goes doggedly about their pointless business.
Red slime will emerge from pods suspended overhead to cover dancers in a new Adelaide Festival production.
Singer-songwriter Ben Lee emerges from a year in Los Angeles armed with great new songs and a fun twist on his classic hits.
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