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.
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.
YUCK Circus has created a dystopian landscape where survivors skip rope, scavengers suspend themselves mid-air, and worms breakdance – and Claire Coleman is hooked.
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.
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.
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.
The place of human beings in the ecosystem hierarchy is questioned in two clever exhibitions at Goolugatup/Heathcote Gallery, and Craig McKeough is intrigued.
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.
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.
