Seesaw Magazine

A spirit of creativity and collaboration energises and transforms those lucky enough to hear WAAPA’s next generation of stars, writes Tess Palmyre.

The Hypotheticals is a contemporary tale of potential baby-making that’s thoughtful, refreshing and pleasingly subversive, says Claire Trolio.

Linde Ivimey’s captivating sculptures and Susan Roux’s striking large scale paper works make for a rich and rewarding experience at Art Collective WA, discovers Craig McKeough.

Will two successful short dance works stand up to being revived and extended for West Australian Ballet’s 2023 STATE program? Kim Balfour finds out.

In a production worthy of the big stage, WAAPA’s cast and crew make all the right moves. Julie Hosking prepares to cut loose – Footloose.

With powerful performances and impeccable staging, Kate Champion’s direction of Andrew Bovell’s Things I Know To Be True impresses David Zampatti, even if he has some doubts about the play.

The orchestra is huge and so is the music. Bourby Webster revels in the masterful direction of two of opera’s greatest composers and welcomes the next generation to the stage.

Fremantle Theatre Company’s production of The Effect, by Succession writer Lucy Prebble, is as intelligent and engrossing as David Zampatti has come to expect from this local outfit.

Come From Away celebrates the best of humanity in the worst of times. Ara Jansen is swept up in the story of a little town with a big heart.

From the elegance of classical ballet to the exhilaration of jazz-infused Balanchine, West Australian Ballet’s new triple bill is a delightful dance across time, writes Kim Balfour.

Peruvian conductor Miguel Harth-Bedoya leads a playful WASO through some Spanish flavours, with Penny Shaw particularly taken by a thrilling interpretation of Rodrigo’s famous Adagio.

Dark and demonic, Sweeney Todd is also hugely entertaining. The musical rounds out the first season from WAAPA’s graduating classes in terrific style, writes an enthralled David Zampatti.

Artist Robert Andrew takes back control of First Nations languages whilst undermining the words of the oppressors, in an exhibition that Craig McKeough finds compelling and satisfying.

Bjork elevates the environment in a wondrous Cornucopia of sight and sound. An awestruck Harvey Rae believes this daring spectacle is the epitome of great festival programming.

Three powerful exhibitions at Fremantle Arts Centre take the viewer to physical and metaphorical horizons, writes Cass Lynch.

With world-class performances and a stunning if unusual setting, WA Opera’s Carmen should help find the genre new audiences, writes Bourby Webster.

Though undoubtedly an astonishing achievement, Strange Case of Dr Jekyll and Mr Hyde leaves David Zampatti a little bemused.

‘IN Cognito’ delivers four heartfelt works to the Quarry stage, from a company at the top of its game, says Kim Balfour.

There’s a lot more to Laser Kiwi’s Rise of the Olive than circus tricks, Nina Levy writes.

There’s brilliance here, although Floozy doesn’t quite hit a home run, writes David Zampatti.

For this very Fringy show, you’ll need to suspend your disbelief in a big way – and it won’t be what you expect, writes Erin Hutchinson.

A risky strategy may or may not pay off, but a dash of ABBA, some lusty vocals and a strong cast keep the joy afloat in Fremantle Theatre Company’s production of Twelfth Night, writes Jan Hallam.

Emma Buswell cleverly knits together laughs with social commentary in a new exhibition that takes a tongue-in-cheek look at one of Perth’s upmarket suburbs.

If Mahler or Metallica require it, a chamber-sized version of Perth Symphony Orchestra is ready to get heavy, writes Claire Coleman.

Fierce and funny, Oil tackles some big subjects, and the cast is more than up to the challenge, writes Rita Clarke.

Tourism and the arts are both finding their feet post-pandemic. How can the relationship between the two be strengthened now and into the future?

The Perth International Jazz Festival is off and swinging and Kristian Borring says the diverse opening night program promises a great weekend in Perth and later in the south-west.

French in name only, Telemann’s ‘Paris Quartets’ offer a suite of European flavours. Australian Baroque charms Claire Coleman with a polished performance.

From the traditional to the experimental, the 40 portraits that make up this year’s Lester Prize are well worth visiting, says Jaimi Wright.

The arts undeniably make us feel good, but what about the wellbeing of artists? How can we better support them?

Junior reviewers Isabel and Eddy Greentree appreciate the strong message about the need for change in this lively opera aimed at young audiences.

Conductor, violist and digital engineer Aaron Wyatt has plenty of strings to his bow. But building awareness of Indigenous music is what gets him most excited. Varnya Bromilow talks to him ahead of the WA premiere of Eumeralla Requiem.