The relentless pile-on against Nina Sanadze, who moved to Australia in 1996 after her family fled the Georgian civil war, reflects the deep and damaging splits in the arts caused by rising tensions over the Israel-Gaza conflict.
Geoffrey Gurrumul Yunupingu’s family is seeking to entrench the Indigenous superstar’s legacy with a new posthumous album.
Sydney Festival marquee show Dark Noon inverts the usual westerns script, as a black South African cast depict three centuries of US history in 100 frenetic minutes: ‘This is what it looks like when you write someone else’s history. Can you see how ridiculous it is?’
From Great Aunt Clodagh’s nerves to “ugly” babies and dire haircuts, the imperative is to tell a white lie, and move on.
Broadway writer Rick Elice talks about his Peter Pan origin story Peter and the Starcatcher, surviving grief and how staging a musical can resemble a military operation.
The former general manager of the BBC Philharmonic Orchestra will swing the axe and cut jobs at the MSO following the fallout from pianist Jayson Gillham’s comments about the Israel-Gaza conflict.
When it comes to musicals, Benj Pasek and Justin Paul’s edgy approach leaves the boys gets/loses/wins back girl formula in the dust. We sat down with the pair to discuss their Tony Award winning musical, set to premiere in Australia.
For too long Brendan Cowell had been the life of the party. The actor, writer and dedicated hedonist needed someone or something to help him through. He needed a hero – so he created one.
The nation’s biggest performing arts company will not replace its artistic director role, just three weeks after the abrupt departure of Jo Davies.
The Apprentice, a disputed bio-pic about Donald Trump, will be released in cinemas less than one month before the US election.
Original URL: https://www.theaustralian.com.au/author/rosemary-neill/page/2