OzAsia music: Bold syntheses

Chris Reid

GayBird’s stunning combination of electronic music and dazzling visuals, an engaging multimedia portrait of a great painter, Ian Fairweather and a revival, with guzheng, of a classic 1960s rock album, thrill Chris Reid.

17 October 2017

Editorial, 11 October 2017

We return from Adelaide, bearing delights and insights granted us by the artists whose work we experienced in just one of the three weeks of OzAsia Festival.

11 October 2017

OzAsia: W!ld Rice Theatre, Hotel: Close to home

Keith Gallasch

W!ld Rice Theatre excels on all fronts in a frank five-hour account of race, class, language and gender across 100 years of Singaporean history via expertly performed farce, situation comedy and high drama.

11 October 2017

OzAsia Festival: Worlds reconfigured

Ben Brooker

Ben Brooker applauds Macho Dancer, Until the Lions and Recalling Mother, performances that in very different ways unsettle conventional gender and personal relationship expectations with verve and passion.

11 October 2017

OzAsia: Macau revivified

Chris Reid

In Macau Days, visual artist John Young and writer Brian Castro, who share Asian heritage, collaborate with composer Luke Harrald to vividly evoke the intercultural riches of 19th century Macau, writes Chris Reid.

10 October 2017

Liveworks 2017: Beautiful Disturbance; interview, Jeff Khan

Keith Gallasch

In an interview with Keith Gallasch, Jeff Khan, Performance Space Artistic Director, guides us through the festival program’s fantasias and political provocations, works of grand scale and intimate one-on-ones.

10 October 2017

OzAsia: Other, but kindred worlds

Chris Reid

Engaging installation works by Hong Kong artists Doris Wong and Gaybird and an engrossing exhibition of performance art on video from the city of Chengdu in China, provide Chris Reid with challenges to perception and the sense of permanence.

10 October 2017

My dinner with birdfoxmonster

Katerina Sakkas

In an Erth/Studio A collaboration, three artist-performers “created an idiosyncratic mythology of self that imbued every last detail of the production. A wonderfully transportive experience,” writes Katerina Sakkas.

10 October 2017

Conor Bateman: Tramp The Dirt Down – Landscape in Brian Trenchard-Smith’s Turkey Shoot (1982)

Critical Video

Conor Bateman’s latest video essay for RealTime parodically takes on the 1982 Ozploitation classic Turkey Shoot, turning it into a battle between humans and Nature.

10 October 2017

The Silent Eye: Astral vision

Luke Goodsell

Luke Goodsell is transported by a deeply atypical documentary about music (Cecil Taylor) and dance (Min Tanaka) by Australian filmmaker Amiel Courtin-Wilson, The Silent Eye, showing this week at the Antenna Documentary Film Festival.

10 October 2017

Lessons learnt from Deborah Pearson

John Bailey

John Bailey is taken with the dextrous interweaving of personal, cultural and political spheres in UK writer-performer Deborah Pearson’s History, History, History, in which the subjectivities of micro and macro histories are laid bare.

10 October 2017

Ensemble Offspring: Down the rabbit hole

Keith Gallasch

Ensemble Offspring’s Who Dreamed It?, a concert of five fascinating, formula-bending works by female composers, delighted Keith Gallasch with their evocations of wacky dreams and moody reveries.

10 October 2017

The Second Woman: the female star as agent

Briony Kidd

A reminder that after successful outings in Next Wave and Dark MOFO, Nat Randall’s riveting 24hr performance work inspired by John Cassavettes’ Opening Night unfolds 20-21 October in Sydney. Read Briony Kidd’s review from June.

10 October 2017

Editorial 27 September 2017

In recent weeks we’ve looked at the role of the university in supporting the making of new artworks as research at postgraduate level and today review one of the outcomes, Rakini Devi’s Urban Kali. This week we turn to recent graduates, interviewing Jess Wallace and Phoebe Sullivan about the WAAPA Performance Making course that took them straight to the Perth professional stage with a self-devised work.

27 September 2017

Sounding the Future: Towards new sound ecologies

Emily Stewart

Emily Stewart is immersed in a tech-driven exhibition curated by Gail Priest, in which sound artworks are “smeared in time” and thrown toward their possible sonic futures.

27 September 2017

Laika: Into space by radio

Jonathan W Marshall

Second Chance Theatre’s Laika, staged as a radio play about early Russian space travel, is “an immensely enjoyable example of how to modestly evoke sublime spaces,” writes Jonathan W Marshall.

27 September 2017

OzAsia Festival: SA the Collective – Music in & beyond the diaspora

Chris Reid

A distinctive Singaporean trio, SA the Collective, who fuse classical Chinese music with multiple genres and experimental techniques, will perform in Adelaide’s OzAsia Festival.

27 September 2017

Interview, Frances Barbe: The university as performance incubator

Keith Gallasch

Frances Barbe, Course Coordinator for the Bachelor of Performing Arts degree at WAAPA, tells Keith Gallasch about the Performance Making course, its evolutionary structure and transformative 10-day training in Singapore.

27 September 2017

The performance makers: Jessica Russell, Phoebe Sullivan

Keith Gallasch

Reflecting on their training and their first professional production, Blueprint, recent WAAPA graduates Jessica Russell and Phoebe Sullivan look to a future in physical theatre and contemporary performance making.

27 September 2017

Alvin’s Harmonious World of Opposites: Interior revelations

Keva York

Sydney independent writer-director Platon Theodoris’ debut feature film, now on video-on-demand and reviewed by Keva York, transcends the limits of realism for a fantastical, Tardis-like exploration of its reclusive protagonist’s inner world.

26 September 2017
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