We’d like to welcome you to INQ, Crikey’s ambitious new inquiry journalism initiative. Starting June 24, INQ investigative reporting — lifting the rocks, connecting the dots, following the money trail and exposing misuse of power — will appear regularly in Crikey.
We look forward to sharing this exciting new phase with you.
Tamsin Creed, Publisher
You know the story, but Australian Ballet's production of the fairytale classic will still break your heart. Cinderella is exquisite from start to finish.
The national ballet company presents an exquisite double-bill in Melbourne and Sydney, showcasing some extraordinary athleticism by its principal dancers.
Don Quixote emerges as about the most fun a dancer or dance devotee can have with tights on, or admiring them. It's old and new from the Australian Ballet.
Rudolf Nureyev came to Australia to create one of the world's greatest ever productions of Don Quixote. Some 40 years later a couple of Australian dancers bring it back to brilliant life.
Choreographer Stephen Baynes wisely doesn't mess with a classic in The Australian Ballet's 50th year. But this new production is oddly devoid of passion.
In the Australian Ballet's 50th year, a look back at three works that defined the company's charter. It's the fruits of the labours of our best and brightest stage artists.
The story of Yevgeny (Eugene) Onegin started, of course, with master-poet Alexander Pushkin’s verse-novel (389 stanzas, no less of iambic tetrameter; so-called Onegin stanzas, or Pushkin sonnet), a classic of Russian literature which began to be serialised in 1825. Onegin, the character, has since served as a ‘role model’ for numerous Russian men of fiction. […]
Ah, wonder of wonders! Bliss. Sublimity. The Australian Ballet’s revival of its 1975 production of The Merry Widow loses nothing at all to the sands of time. In its 385th performance, it sports the dualistic genius of Robert Hynd’s spectacular choreography, as well as the comical eccentricities of Robert Helpmann’s scenario. Who would’ve thought a […]
The cleverly-named Bodytorque series, an annual event that steps beyond the Australian Ballet's home-turf, at the Sydney Opera House, is determined to present the edgy and up-and-coming
It might be the best of British ballet, but it could hardly be a more eclectic, diverse, or divergent selection which, I suppose, bodes well for the breadth of the Anglo-Australian connection, retrospectively and, dare I say, going forward. All are works well-inculcated in the Australian Ballet’s repertoire: 51st, 34th and 74th performances. Concerto is […]