Afleveringen
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Perhaps no dance company has done more to expand the horizons of Australian audiences than Bangarra Dance Theatre. Now they expand those horizons further, presenting their first mainstage cross-cultural collaboration.
Horizon includes work choreographed by Deborah Brown, a descendent of the Wakaid Clan and Meriam people in the Torres Strait, with Moss Te Ururangi Patterson, of the Māori Ngāti Tūwharetoa tribe in Aotearoa and the artistic director of the New Zealand Dance Company.
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William Shakespeare's plays feature witchcraft, murder, ghosts and bloody revenge. Are his displays of blood and gore simply meant to entertain us or do they have more to say about the human condition?
Wherefore, Shakespeare? is a series that explores the dilemmas, conflicts, and controversies in Shakespeare's major plays.
In our third instalment, we enter Shakespeare's house of horror. We're joined by Professor David McInnis, who teaches Shakespeare and Early Modern Drama at the University of Melbourne, Professor Jane Montgomery Griffiths, an acclaimed actor and the head of the School of Performing Arts at Collarts, and Peter Evans, artistic director of Bell Shakespeare.
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Zijn er afleveringen die ontbreken?
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A childhood love of dance and a challenging homelife drove Rafael Bonachela to leave his native Spain at just 17 years old and seek his fortune in the dance studios and theatres of London. The celebrated choreographer was then beckoned to Australia, where he has led the Sydney Dance Company since 2009.
Also, in The Audition, we meet a group of asylum seekers vying for a new life in Australia. The play was co-written by a group of established playwrights alongside writers with lived experience of displacement. And we meet high school students from Hong Kong presenting their own bilingual play inspired by classics from Spain and China.
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For decades, Australia's Back to Back Theatre has been delighting audiences with shows performed and devised by an ensemble of artists who are neurodivergent or living with a disability. Following their most recent major international award win, we visit the ensemble at their Geelong headquarters as they rehearse their new show: Multiple Bad Things.
Also, alongside the stand-up, improv and cabaret at this year's Brisbane Comedy Festival, you can catch a play by one of our top writers: David Finnigan's 'apocalyptic rom-com', 44 Sex Acts in One Week. And singer, songwriter and comedian Jude Perl is staging her first full-scale musical at Arts Centre Melbourne this month. It's called Share House: The Musical.
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It's Tony season on Broadway and this week we have two major figures of American theatre who have won nine Tony Awards between them: Audra McDonald and Jason Robert Brown.
Performer Audra McDonald is currently on a concert tour of Australia. Her first Tony Award came for her breakthrough role in Rodgers & Hammerstein's Carousel and she's added five more Tonys to her collection since then. And the composer and lyricist Jason Robert Brown won his first Tony Award for Parade, which is coming to Sydney's Seymour Centre.
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Simon Burke is one of Australia's most cherished entertainers. 2024 marks his 50th year performing on stage.
He made his professional stage debut at just 12 years old and shortly after won an AFI Award for his performance in Fred Schepisi's film The Devil's Playground.
He's since become renowned as a musical theatre performer, having had major roles in Australia and on London's West End.
Right now, he's playing the Wizard of Oz in a spectacular new production of Wicked.
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What does it mean to defy the conventions and test the boundaries of gender? These are questions posed by some of Shakespeare's most famous characters.
Wherefore, Shakespeare? is a series that explores the dilemmas, conflicts, and controversies in Shakespeare's major plays.
In our second instalment, we place gender in the spotlight. We're joined by Professor Jane Montgomery Griffiths, an acclaimed actor and the head of the School of Performing Arts at Collarts, Professor David McInnis, who teaches Shakespeare and Early Modern Drama at the University of Melbourne, and Peter Evans, artistic director of Bell Shakespeare.
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Suzanne Chaundy is one of Australia's most in-demand directors of opera. Last year, she had the triumph of a lifetime with her direction of opera's most daunting challenge: Wagner's Ring Cycle. Now she's back with another big opera, Lucia di Lammermoor at the Melbourne Opera. So, what does it take to direct an opera?
Also, in Lose to Win, which opens soon at Belvoir Street Theatre, Mandela Mathia recounts his extraordinary journey from displacement in war-torn South Sudan to becoming an Australian and an accomplished actor, and opera singer David Hobson and comedian Colin Lane hit the road for a six-month tour of their show, In Tails.
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Choreographer Johan Inger's first narrative work is a radically contemporary take on Carmen, which employs Bizet's famous score but draws on the confronting violence of Mérimée's original novella for its story. The ballet earned the Prix Benois de la Danse and is now being presented by The Australian Ballet.
Also, Victor Hugo's novel about an orphaned boy whose mouth has been cut into a perpetual grin has been adapted into a musical, The Grinning Man, and we mark the 100th anniversary of The Demon Machine, a dance work by Gertrud Bodenwieser who fled the Nazi occupation of Austria and founded the first modern dance company in Australia.
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Angus Cerini has been writing plays for 25 years, but his recent experiences as a farmer have inspired his latest play, Into the Shimmering World. The acclaimed writer of The Bleeding Tree and Wonnangatta now introduces us to two aging farmers, played by Kerry Armstrong and Colin Friels, struggling against relentless adversity.
Also, Wild Dogs Under My Skirt is a published collection of poems written by the Samoan-New Zealander Tusiata Avia. 20 years ago, Tusiata was touring the world performing these poems on stage and now that show has been reimagined for an ensemble. Wild Dogs Under My Skirt is now on tour in Australia.
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Opera Australia's annual production on Sydney Harbour is a highlight of the performing arts calendar. This year, the floating stage hosts West Side Story and it stars First Nations soprano Nina Korbe. The musical by Leonard Bernstein and Stephen Sondheim is Nina's professional debut, but not her first time performing in a spectacular outdoor setting.
Also, with the 2024 Melbourne International Comedy Festival underway, we're joined by the comedian Joel Kim Booster. Joel is also the writer and star of the hit romantic comedy Fire Island. Joel is performing in Headliners at the festival and can also be seen in his Netflix special Psychosexual and in the comedy series Loot with Maya Rudolph.
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A Case for the Existence of God is by the American playwright Samuel D. Hunter. It is a two-hander that explores the unlikely connections between two men unalike in class, race and sexuality. Samuel is also the creator of the very unsettling hit play The Whale, a film adaption of which earned two Academy Awards.
Two separate productions of A Case for the Existence of God are being presented in April — one by Outhouse Theatre Co at the Seymour Centre in Sydney and the other by Red Stitch in Melbourne.
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Wherefore, Shakespeare? is a new series that explores the dilemmas, conflicts, and controversies in Shakespeare's major plays. In our first instalment, we tackle Shakespeare's comedies. Are they funny? And if they are, how is our sense of humour different from what tickled the fancies of the Elizabethan audience?
We're joined by Peter Evans, artistic director of Bell Shakespeare, Professor Jane Montgomery Griffiths, an acclaimed actor and the head of the School of Performing Arts at Collarts, and Professor David McInnes who teaches Shakespeare and Early Modern Drama at the University of Melbourne.
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In her memoir Oh Miriam!, the British-Australian actress, writer and comedian Miriam Margolyes shares hugely entertaining stories from her life with her trademark wit and disarming candour. Now, she's bringing those stories — and more — to the stage.
Also, 37 is a new play from the funny and vernacular Palawa/Pakana playwright, Nathan Maynard. In the era of AFL footballer Adam Goodes' famous war cry, two Aboriginal footy players in a regional club confront the personal cost of either staying quiet or speaking out about racism. We're joined by the show's star, Ngali Shaw, and director, Isaac Drandic.
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The acclaimed Irish actor Andrew Scott tackles his most challenging stage role yet in a one-man retelling of Anton Chekhov's Uncle Vanya. The production, Vanya, was commissioned and directed by Sam Yates, a young British director who was mentored by the likes of Trevor Nunn, Nicholas Hytner and Phyllida Lloyd.
Also, opening nights can be stressful under any circumstances, but what do you do when a zombie apocalypse threatens curtain time? We're joined by the team behind Zombie! The Musical. And an updated version of Patrick Hamilton's 1938 play Gaslight is now touring Australia. We meet the director and writers.
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At the 2024 Adelaide Festival, we visit theatre foyers, dressing rooms and the city's famous gardens to meet the artists bringing theatregoers to the edge of their seats.
We speak with artistic director Ruth Mackenzie, who is delivering her first full program this year, we meet acclaimed choreographer Elizabeth Streb, whose 'Action Hero' performers in Streb Extreme Action will push their bodies to the limit in Time Machine, we visit the Narungga artists and cultural custodians sharing the creation stories of their country on the Yorke Peninsula in Guuranda, and we learn how acts of creative thievery can become a joyful paean to the performing arts in Grand Theft Theatre.
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One of the headline events at this year's Adelaide Festival is an enchanting production of Stravinsky's opera The Nightingale. It comes from the playful imagination of Robert Lepage. Lepage is an acclaimed French-Canadian writer, director and performer who, during his decades-long career, has reshaped our ideas of what theatre can be.
Also, we hear a scene from Monument by Emily Sheehan, a new Australian play at Red Stitch about a tense encounter between a woman prime minister and her makeup artist, and we learn about the family history that has inspired former ABC journalist Jane Hutcheon to tell her own story on stage in the show Lost in Shanghai.
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British visual artist Es Devlin has designed spectacular sets for some of the largest stages on earth. As well as designing for the theatre, Es has created unique performance spaces for the likes of Beyoncé and U2. Now, her award-winning stage design for The Lehman Trilogy, about the rise and fall of the Lehman Brothers investment bank, can be seen on stage in Sydney.
Also, Pip Williams' bestselling novel The Dictionary of Lost Words has been adapted for the stage, and 400 years after its publication, John Webster's play The Duchess of Malfi is back. So, what is this violent and bloody play's appeal in 2024?
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Live on stage at the 2024 Perth Festival, we encounter an opera, a play and a dance work that each explores how the places where we live shape who we are.
We're joined on stage by Gina Williams and Guy Ghouse, composers of the new Noongar-language opera Wundig wer Wilara, Dalisa Pigram, Soultari Amin Farid and Zee Zunnur, co-creators of Mutiara, a dance work that investigates the complex history of Broome's pearling industry, and playwright Steve Rodgers and director Kate Champion whose new play The Pool is performed in and around a suburban aquatic centre.
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The last production to grace the stage of Griffin's historic SBW Stables Theatre before a major redevelopment will be The Lewis Trilogy from Australian playwright Louis Nowra. The three highly acclaimed plays — Summer of the Aliens, Così and This Much Is True — are all drawn from Nowra's own very eventful life.
Also, Jonathan Larson's hit musical RENT is back on stage in Australia, and ahead of two new productions of Candide in Melbourne and Adelaide, we take a closer look at Leonard Bernstein's comic operetta based on the Enlightenment-era novella by Voltaire.
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