The New Town Toyota Walk for Women’s Cancer 2023 has raised more than $1.5 million to fund cancer research at Harry Perkins Institute of Medical Research.
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.
Three weeks after WA Ballet announced the surprise departure of its popular artistic director, the company’s chair has revealed its board made the call to not renew his contract.
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.
The World Transplant Games are being hosted in Perth for the first time in its 24 year history, attracting 45 countries to Western Australia to participate in sporting events.
Festival director and journalist Will Yeoman has been selected to lead Writing WA as chief executive, taking over from the former boss Sharon Flindell.
Former Australian Ballet artistic director David McAllister will return to Perth to lead West Australian Ballet Company after Aurelien Scannella announced his resignation.
WA-based disability employment provider Workpower has agreed to take over Activ Foundation's large-scale worksites, securing employment for 600 people with disability.
Not-for-profit Anglicare WA will close the four op shops it operates in the state, deeming the arm of the business no longer financially viable after 40 years in operation.
Former politician and prominent board director Ben Wyatt has been announced as the new chair of Perth Festival, which has also appointed three new members to its board.
The Blue Room Theatre's executive director, Katt Osborne, has called time at the helm of the independent arts organisation after three years in the role.
Baptistcare WA and BaptistCare NSW & ACT have announced they will merge to become one combined care provider with a workforce of more than 5,000 staff.
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.
