Seesaw Magazine

What is the impact of environmental change on the arts and what part can the sector can play in addressing the global issue?

Thirty years after its celebrated debut, Douglas Wright’s Gloria lights up the stage once more, this time with a very special addition. The result, writes Nina Levy, is simply glorious.

With a touch of performance rock, The Last Great Hunt takes audiences to the galaxy and beyond via the iconic rotary-dial telephone and it’s a dizzying and dazzling ride, says David Zampatti.

An opera in hi-vis? Puccini’s La fanciulla del West translates almost too well to a WA mine site, writes Bourby Webster.

Sydney Dance Company makes a triumphant return to Perth with Impermanence but the theme is lost in translation, writes Nina Levy.

Choreographer Natalie Allen is inviting you to an end-of-the-world party. If you’re up for some decadent dance, says Liz Cornish, you should accept.

Barking Gecko, Tim Watts and Arielle Gray make wonderful theatre out of Cicada, Shaun Tan’s parable for all ages, write David Zampatti and junior reviewer Pippa Turnbull.

The cast of An American in Paris barely puts a foot wrong and Nina Levy is swept along for the ride.

Traversing a range of human emotion, West Australian Ballet’s latest triple bill is an evening of beautifully performed contemporary dance, reports Kim Balfour.

From an exquisite performance by Lior to mashed up anthems of gender equality, the opening weekend of the Perth International Cabaret Festival provides plenty of reasons to come hear the music play, writes David Zampatti.

WAAPA’s music theatre headliner this year is the little-known Mack & Mabel, and David Zampatti says that while it’s easy to find its flaws, it’s also easy to overlook them.

“Tracks We Share” takes the viewer on a breathtaking journey through stories of the First Peoples of the Pilbara, discovers Craig McKeough.

Our reviewer Claire Coleman joins an ecstatic crowd lapping up the Australian Chamber Orchestra’s return to the west.

Superbly danced, West Australian Ballet’s ALICE (in wonderland) is a trip worth taking, advises Kim Balfour.

In a retrospective performance, jazz virtuoso Barney McAll draws on the traditions of his genre while pointing the way to the future, writes Garry Lee.

AGWA’s annual showcase of Year 12 art takes the pulse of a switched-on generation ready to make their mark on the world, writes Craig McKeough.

From colourful optimism to dark glossiness, Art Collective WA’s clever pairing of artists draws in Craig McKeough.

Barking Gecko gets the balance just right in its latest production – a delightful daydream that brings out the child in us all, writes Claire Trolio.

Barking Gecko Theatre Company’s new show The Great Un-Wondering of Wilbur Whittaker impresses junior reviewer Jackson Davis with its special effects and positive message.

An ambitious reworking of Tchaikovsky’s opera Iolanta sheds light on the experience of living with disability. But Rosalind Appleby says it comes at a cost.

The WAAPA third year acting students’ sparkling revival of Moliere’s classic Tartuffe speaks to the kind of cynicism so prevalent in our halls of power today, writes Jan Hallam.

A decade after its premiere, The Last Great Hunt’s acclaimed exploration of dementia is still captivating audiences, writes Claire Trolio.

Freeze Frame Opera are the arts community’s first responders, says Rosalind Appleby. And they have done it again, with a production of La Boheme that couldn’t be more pertinent.

From the poignant to the political, many works in this year’s iteration of ‘Sculpture by the Sea’ are about more than its coastal setting, discovers Kim Kirkman.

Multiple screens and a poetic visual style lift Isaac Julien’s film works well above the ordinary in this Perth Festival installation, writes Craig McKeough.

In Become Ocean, WASO and WAYO offer two new works that tinker at the conceptual boundaries of Perth Festival’s theme “Wardan” (Water), writes Claire Coleman.

Mary Stuart, the great play Shakespeare could never write, has a flawlessly conceived and delivered staging at the Heath Ledger Theatre, writes David Zampatti.

An innovative Perth Festival performance work examines the beauty and power of rituals surrounding death, and Rita Clarke is mesmerised.

Perth Festival’s Panawathi Girl is a polished production that uses music to tell an important story and ignite the heart, writes Barbara Hostalek.

Last year’s Troy Story was one of those sneaky little surprises that makes getting out and about at Fringe World worthwhile.

Spanning the spectrum, ‘Expander-COLOUR’ is a playful exploration of the many moods and tones of colour, discovers Kim Kirkman.

YUCK Circus has created a dystopian landscape where survivors skip rope, scavengers suspend themselves mid-air, and worms breakdance – and Claire Coleman is hooked.