"It starts off like a piece of theatre, but soon becomes a kind of drama workshop where the audience is encouraged to comment and participate." ALANNA MACLEAN reviews Stages of Empathy, a production by Rebus Theatre.
Review
COLIN STEELE reviews Adam Courtney's memoir My Father Bryce, which reveals Bryce to be a complex, driven man and an often absentee father.
"This exhibition is a reminder that our search for more environmental and sustainable sources of energy will inevitably cause consequences for some of the surrounding communities." MEREDITH HINCHLIFFE reviews Fulcrum, by Aidan Hartshorn.
"Bangarra's Illume is a visually striking work, with impressive set design, an intriguing video installation and a stark depiction of glaring lights of modern design and the beauty of the natural world," writes reviewer SAMARA PURNELL.
"Christie’s play provides suspense and humour as this early 1950s plot unfolds. Much of the humour comes from the eccentricities of the characters involved." LEN POWER reviews Agatha Christie's Spider’s Web, a production by Canberra Rep.
ALANNA MACLEAN reviews 21 Hearts: Vivian Bullwinkel and The Nurses of the Vyner Brooke.
SAMARA PURNELL reviews ECHO (Every Cold-Hearted Oxygen).
"The group is almost as fascinating to watch as it is glorious to hear," SARAH BYRNE reviews the concert by the rising a cappella ensemble from Leipzig, Sjaella.
"Julius Caesar is a demanding work to stage — sprawling, rhetorical, and complex in tone," writes theatre reviewer ARNE SJOSTEDT.
BRIAN ROPE reviews photographer Hilary Wardhaugh's exhibition You Cannot Trust an Open Sky.
In Backbone, the connecting thread is a distinct sense of melancholy that one can’t help but attribute to the predicament that the School of Art & Design (and the ANU at large) finds itself in," writes art reviewer SOPHIA HALLOWAY.
"While the production illustrated the insane world of Enron, perhaps we, as audience members, might well be challenged as accomplices within this playground of big capital!" JOE WOODWARD reviews Enron.
