Seesaw Magazine

Back in 2019, Yirra Yaakin Theatre Company Artistic Director Eva Grace Mullaley knew she’d found a firecracker when she heard a 10-minute reading of a new script by Wajarri/Noongar playwright Narelle Thorne.

The Art Gallery of Western Australia has reopened with a bang.

From the frothy fun of operetta to the suave tones of Hollywood, Couch Opera Live take audiences on an entertaining operatic journey.

WA’s prestigious annual portrait prize exhibition celebrates both the individuality and universality of human nature, finds Kim Kirkman.

A creation story and a powerful First Nations cast provide the perfect vehicle to bring the Noongar tongue to a new audience, as Rosalind Appleby and junior reviewers Emma and Liliane Wadley discover.

The Last Great Hunt’s Bite the Hand is as hilarious as a puppy and as dangerous as a pit bull. It also leaves its meaning for you to uncover – a good thing according to David Zampatti.

The first of the Indian Ocean Craft Triennial’s centrepiece exhibitions weaves together the disparate cultures of the Indian Ocean rim in ways that Craig McKeough finds profound.

WAAPA’s third year students show plenty of potential in Humphrey Bower’s take on Julius Caeser, writes Rita Clarke.

Back in August 2017 two freelance arts journalists hit “publish” on Seesaw Magazine, a new website dedicated to covering Western Australia’s prolific arts scene.

Enjoying a new production of a show just as much as you did the original is a Brilliant Thing, writes David Zampatti.

Freeze Frame Opera’s “Angels & Devils” presents unlikely opera repertoire in an unusual venue and Sandra Bowdler says it offers a night of good fun and great singing.

A collaboration between two orchestras and Noongar soloists heralds a new era for the classical music industry, writes Rosalind Appleby.

The place of human beings in the ecosystem hierarchy is questioned in two clever exhibitions at Goolugatup/Heathcote Gallery, and Craig McKeough is intrigued.

Each of the three works in West Australian Ballet’s inaugural ‘STATE’ program won over the opening night audience, writes Nina Levy.

David Zampatti checked out the staged concert version of the Benny and Björn/Tim Rice rock opera Chess at the Perth Concert Hall and found it a chequered experience.

In the final piece of his three-part series on the proposed film studio for Fremantle, Mark Naglazas asks what the arrival of big-budget productions would mean for the local industry.

The WA screen industry has fallen in behind the idea of Fremantle as the state’s film hub. But is Victoria Quay the best place for a movie studio? asks Mark Naglazas in the second of a series of articles on the most important piece of film infrastructure in our state’s history.

Mark Naglazas explores whether the proposed $100 million state-of-the-art facility within Victoria Quay is what the Western Australian screen industry needs.

Debuting over 200 years ago, Rossini’s comic masterpiece The Barber of Seville (Il barbiere de Siviglia) has remained in almost continuous production ever since.

Fremantle Arts Centre’s annual “Revealed” exhibition of works by new and emerging WA Aboriginal artists is an exciting and engaging collection, writes Belinda Hermawan.

Miss Lily’s Fabulous Feather Boa is a fun family show with apt themes of isolation and extinction, says Lydia Edwards.

The startlingly realistic sculptures and installations by Abdul-Rahman Abdullah in ‘Everything Is True’ issue a challenge to apply our own versions of the truth to them, Craig McKeough writes.

Rosalind Appleby found that the light prevailed over the darkness in WASO's season launch.

Structural Dependency is yet more proof we don’t need to import world-class contemporary dance companies – they’re already here.

Black Swan’s adaptation of The Cherry Orchard, Chekhov’s tragicomedy of Czarist Russia, sits uncomfortably in 1980s Manjimup.

Children of the Sea, Perth Festival, Encounter / Performing Lines WA · Subiaco Arts Centre, 17 February, 2021 ·On rare occasions, the intentions of a piece of theatre, its conception and the

Shaun Tan mines his own childhood story of endless summer days in his exhibition, "Rules of Summer".

It’s a cute story, driven by cute dialogue and indescribably cute characters.

Simone Craddock's production of Ella & Louis! is, in short, "incredible".