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The Victorian State Government’s Creative Summit 28-29 June is distinctive in as much as government, that slow beast, makes clear its intention to recognise the artist’s role as an essential, mainstream and productive member of society and the economy and not just an outlier. Big stuff does get done in summits. Summits are short, sharp and seek solutions. There’s
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By Raymond Gill
Melbourne is used to winning the World’s Most Liveable City title and the slightly less prestigious World’s (Second) Most Fun City but a new report released this week by the Victorian Government shows that its reputation as a cultural capital needs some work as other cities catch up. According to the government’s report, Melbourne as a Global
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By Daily Review
The Australian World Orchestra (AWO) is delighted to present AWO CHAMBER 8, an ensemble of Australia’s finest musicians based in prestigious international and national orchestras, performing a series of unmissable intimate chamber concerts. The tour will include AWO’s first performances in Perth and Brisbane, as well as Sydney and Melbourne. All exceptional soloists in their
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By Daily Review
Opera Australia today announced its seventh annual Handa Opera on Sydney Harbour will be a new production of Puccini’s La Boheme. The national opera company revealed the production is part of a new three-year arrangement with Destination NSW. The new production will be directed by Andy Morton, who has worked on the last five events on Sydney Harbour
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The Darwin Festival has failed local visual artists. Spending money on a roving class of interstate creatives and acts is capital that gets drained from the local culture making economy. There is no substantial quota for local engagement, there is no compulsion that local creatives get engaged and employed. The current festival model fails to connect
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“Things they do look awful c-c-old” sang The Who, talking about their generation, “I hope I die before I get old”. But the bittersweet legend of an early death long preceded 1965. Take your pick – you might start with Goethe’s 1774 sturm und drang best-seller The Sorrows of Young Werther; or that Marvellous Boy,
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By Ben Neutze
Netflix’s new show GLOW is a fictionalisation of the personalities and stories behind-the-scenes of the 1980s wrestling promotion and TV series, Gorgeous Ladies of Wrestling. The ten-part series premieres today, and is inevitably going to be compared to Orange is the New Black. On paper, the shows have plenty of similarities: GLOW is a comedy-drama Netflix original, following an ensemble cast of “strong” women
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By Ben Neutze
Hot Brown Honey — the performance and party event that’s part burlesque, part cabaret, part hip-hop gig, part circus and all protest — has become a bit of a sensation over the last few years. The politically-charged show, which is the brainchild of Kim ‘Busty Beatz’ Bowers and Lisa Fa’alafi, has toured extensively and is now
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By Ben Neutze
This production of Patricia Cornelius’s play Slut started life as a one-off staging as part of the Women in Theatre and Screen’s (WITS) Festival Fatale last year. When I reviewed that initial staging, I wrote: “I hope this production returns to Sydney at some point, because it needs to be seen.” Now the production has returned for a
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It is nearly 40 years since Belgian-born, French singer songwriter Jacques Brel left the world. But as this tribute gala, devised by Adelaide Cabaret Festival co-director Ali McGregor attests, he is an immortal troubadour and the more time passes, the better his songs sound. It is currently apt to note his influence on David Bowie and
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