ABR Arts

The Dance of Death (Belvoir St Theatre) ★★★★

Ian Dickson
Thursday, 15 November 2018

After staggering out of a performance of The Dance of Death, August Strindberg’s turbulent portrayal of a marriage, one fervently hopes Tolstoy was right and that each unhappy family is unhappy in its own way. No other theatrical couple – not Edward Albee’s George and Martha, not Eugene O’Neill’s James and ...

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Die Meistersinger von Nürnberg (Opera Australia) ★★★★

Michael Shmith
Wednesday, 14 November 2018

Let it be said – indeed proclaimed – that Opera Australia’s new production of Wagner’s paean to life and art and love is musically as close to a triumph as it could have been. If, by the end, you feel the outside world is a better place than the one you temporarily abandoned six hours earlier, then Die Meistersinger von Nürnberg has surely wrought ...

David Goldblatt: Photographs 1948–2018 (Museum of Contemporary Art)

Alison Stieven-Taylor
Tuesday, 13 November 2018

Perhaps the best way to influence the thoughts of another is to do so without intent. South African photographer David Goldblatt once said he did not believe that ‘any photograph of mine would ever influence anybody in the slightest degree’. Yet his photographs of his country’s apartheid era reach down into the very heart of ...

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Wangaratta Festival of Jazz and Blues

Des Cowley
Monday, 12 November 2018

Now in its twenty-ninth year, the Wangaratta Festival of Jazz and Blues continues to deliver programming that is innovative, ambitious, and far-reaching. That a long-running Festival of this scale and significance takes place annually in a regional Victorian city says much about the tenacity and dedication of the Festival’s artistic team ...

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A Cheery Soul (Sydney Theatre Company) ★★★1/2

Ian Dickson
Monday, 12 November 2018

This reviewer has the unfashionable opinion, at present, that Patrick White, like Henry James, was a novelist and short story writer of genius who had an unfortunate obsession with the stage. In the 1960s, the nascent Adelaide Festival produced the one play of his that deserves repetition, The Season at Sarsaparilla (1962) ...

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Boy Erased ★★★★

Dennis Altman
Wednesday, 07 November 2018

We all love redemption movies. The twist in Boy Erased is that redemption comes by escaping religion rather than discovering it. Garrard Conley is a nineteen-year-old college student who grew up in a fundamentalist Baptist family in Arkansas. When his parents discover his homosexuality ...

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The Update - November 7, 2018

ABR Arts
Wednesday, 07 November 2018

In this fortnight's Update: Michael Kupfer-Radecky's début in Die Meistersinger von Nürnberg, a Nelson Mandela exhibition at the Melbourne Museum, Alexis Wright on censorship and storytelling, the ABR Patrons' Fellowship, the ABR Arts Highlights of the Year, a reading of the Homer epics, La Mama Theatre's restoration, and giveaways for Suspiria, Lean on Pete, and Hedda ...

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Suspiria ★★★1/2

Andrew Nette
Monday, 05 November 2018

There is a sense of tension and anticipation around any film remake, especially when the original is well known and received. So is the case with Luca Guadagnino’s version of his countryman, Dario Argento’s cult horror, Suspiria (1977). There has been intense on-line debate about the movie from the moment the ...

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Krapp's Last Tape (fortyfivedownstairs) ★★★★1/2

James Ley
Monday, 05 November 2018

Krapp’s Last Tape was first performed in 1958, which places it towards the end of Samuel Beckett’s middle period: those fruitful postwar years during which he wrote his major plays, Waiting for Godot (1952) and Endgame (1957), and the three extraordinary novels known collectively as the ‘Molloy Trilogy’ (1951–58) ...

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The Sydney Symphony Orchestra’s late-October subscription concerts offered an interesting juxtaposition by pairing the final symphonies of Joseph Haydn and Ludwig van Beethoven. These masterworks illustrate the enormous changes that revolutionised symphonic writing within a few decades from the last decades of the eighteenth century.

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