Blizzard is slightly reducing the sexual-objectification of its female characters, even if their official reasons for doing so are weak. The benefit being that the euphemism of characterisation is easier for some to digest. Same end, different method, easier execution. Words by Kacper Szodza.
Following the company's superb adaptations of 'The Rabbits' and 'The Red Tree', Barking Gecko brings another children's story to the stage with 'Bambert’s Book of Lost Stories'. Gabriella Loo sheds a tear and reviews.
Fresh off a Melbourne stage, the production opened at the Malthouse Theatre in March before venturing here. At 90 minutes (no interval), the ambiguous ending to this thriller will have you tearing at your hair, but one thing’s clear: it’s not safe at the Rock. Review by Samuel J. Cox.
"The show is one of the strangest dance pieces I have ever seen, but one I haven’t stopped talking about since. It’s intriguing, uncomfortable and certainly different from traditional notions of dance." Melissa Scott reviews PIAF performance Pindorama, directed and choreographed by Brazilian dancer Lia Rodrigues.
Poland's late political changes exhibit an uneasy mix of traditional authoritarianism and western capitalism, "typical of former Eastern bloc nations still struggling to come to terms with their past." Bradley Griffin and Leah Roberts write on the troubling consequences of this turmoil, and the rise of right-wing Law and Justice Party (PiS) under Jaroslaw Kaczynski.
'The UN is not irrelevant to history, as a lasting if imperfect monument to global political cooperation. Most importantly, the UN is not irrelevant to Australia itself.' Jasmine Ruscoe considers the purpose and use of a international body often described as purposeless and useless.