Death, destruction, despair make for earthy Adelaide Festival opening weekend
Lars Eidinger's Richard III is all too knowing and self-referential a villain.
Lars Eidinger's Richard III is all too knowing and self-referential a villain.
In Difference Lennox Theatre, Riverside, March 2 ★★★★
Is it art? Or sport? Tristan Meecham will run a marathon on a treadmill amid a dancing, drumming and boxing spectacular.
Sydney dance fans are about to see what Melbourne Ballet Company can do in Being and Time at Concourse Theatre.
The rigour here is exquisite – and exquisitely excruciating to watch. Never once is the discipline abandoned.
This international collaboration deserves a longer run than the few nights it is showing at Asia TOPA in Melbourne.
David Hallberg is to become the first international guest artist in residence at the Australian Ballet, which he credits with helping save his career after injury.
Sammohanam
Contemporary circus meets stunning 12th century Indian acrobatics in Circa's One Beautiful Thing.
There are no princesses, no sylphs and no enchanted swans, but The Red Detachment of Women is nonetheless a fairytale ballet
This big new triennial goes for months, so let us help you find the best must-see events from the program.
A must-see festival show steeped in nightmarish situations.
A blood-red video underscores a passionate show.
Tchaikovsky's Christmas ballet has been adapted into a narrated version especially suited to introduce young children to the art form.
With commentary from Channel Seven's Mel McLaughlin, the festival show is about Australia's obsession with sport.
The six dancers of Canada's Company 605 attack their action-packed material with enormous energy and impressive agility.
Spectra, a Japanese-Australian collaboration between Dancenorth and the butoh collective Batik, pursues a theme of interconnectedness.
Was it the dancers? The paintings and sculpture? The music? The audience? The gallery ambience? The nudity that got us there in the first place?
The great thing about a festival is the way it brings together people and performances that you wouldn't otherwise encounter.
A lot has changed since Burn the Floor first premiered two decades ago.
The name SIRO comes from the Japanese for "white" or "colourless". The "A" stands for "anonymous". But this techno-pop dance and mime troupe are anything but.
The production is aimed at introducing Tchaikovsky's classic to young children in a shortened version with a narrator.
Nakedness in dance can be beautiful but it doesn't improve the quality of the choreography.
Shifting patterns... Bodies moving in space to a grand plan... Tension building, then releasing...
This performance was far from inspiring; I have seen much better by a dance school.
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