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There’s a crisis in Australian musical theatre — and it’s about more than funding & support

SHANEWARNEMUSICALweb
Musicals, News & Commentary, Stage |

The near-total lack of homegrown musical theatre recognised in this year’s Helpmann Award nominations has been the subject of much discussion and dismay in the performing arts industry over the last few days. Plenty have criticised the Helpmanns for failing to acknowledge the work of more local creatives, but others have suggested that the result

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The Helpmann Awards can’t be taken seriously

SAULMAINweb

Like many people who work with Australia’s live performance industry, I have conflicting feelings about the Helpmann Awards. On one hand, I think it’s important to celebrate the significant achievements of a vibrant industry, and I appreciate that the Helpmann committee and Live Performance Australia try pretty hard to make a national performing arts award consistent and representative.

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If Julie Andrews thinks My Fair Lady is sexist, why aren’t we talking about it?

MFL_PhotobyJeff-Busby_1415_R-1024x683
Musicals, News & Commentary, Stage |

Over the weekend a wonderful but surprising new interview with Dame Julie Andrews was published in Fairfax. Andrews was recently back in Australia overseeing the production of My Fair Lady she directed for Opera Australia when she opened up about the show. In the article, journalist Elissa Blake asks Andrews a question that’s been widely debated in Australia’s

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Sierra Boggess in concert review (State Theatre, Sydney)

SIERRABOGGESSweb
Musicals, Reviews, Stage |
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Sierra Boggess may be the closest thing we have to a real-life Disney princess: she’s classically beautiful, sings with a glorious, crystalline, versatile musical theatre soprano, and has the wide-eyed wonderment and optimism of a young mermaid discovering the world above the sea. She’s almost certainly the type of person who literally whistles while she works.

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Only Heaven Knows review (Hayes Theatre, Sydney)

ONLYHEAVENKNOWSREVIEWweb
Musicals, Reviews, Stage |
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When playwright and composer Alex Harding’s Only Heaven Knows premiered in 1988, communities of gay men around the world were in the midst of a cultural battle brought on by the emergence of HIV/AIDS. Not only were there important political battles to be fought to ensure men living with HIV/AIDS were given the dignity and medical treatment

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