Geraldine Higginson reviews two similar sounding but very different works.

Last week AUSTI. Dance and Physical Theatre took to the stage of the Bruce Gordon Theatre at Wollongong’s IPAC (Illawarra Performing Arts Centre) with three short new works by emerging Australian choreographers.

This year’s Melbourne Fringe Festival promised to be bigger and better than ever, with 500 shows and experiences on offer; choosing what to see over the 19 days of the festival is a bewildering experience.

Architect of the Invisible is a wonderfully complex choric work from dance-maker Raewyn Hill featuring twenty-three dancers weaving, pulsing, shaking and rising together, before scattering in coils and lines to come together again.

A return season by Queensland Ballet of the smash-hit Strictly Gershwin has been on the wish list for many, ever since its sell-out season in 2016.

For this new production of 'Swan Lake', David Hallberg has returned to Ann Woolliams's production, created in 1977 when she was artistic director of the company, writes Karen van Ulzen.

'Jurrungu Ngan-ga' offers a critique of what dramaturgs Behrouz Boochani, Omid Tofighian and Patrick Dodson have designated the Australian “kyriarchal system” of our carceral “nation of jailers”, writes Jonathan W Marshall.

This not-to-be-missed premiere brings to life an incredible artist’s most iconic paintings through a fluently arranged symbiosis of movement, visual art, music and design, writes Isabelle Leclezio.

A promenade dance-theatre work of quite epic proportions, 'Salamander' has been promoted as the centrepiece of this year’s Brisbane Festival – and its promotion is well-deserved.

Stephanie Lake Company and Abbotsford Convent joined together to auspice this exciting and challenging short season of independent emerging choreographic talent.

Antony Hamilton returns to his concerns with mathematical precision and physical endurance in his latest work, writes Rhys Ryan.

The company is continuing to thrive under the directorship of Frances Rings, writes Geraldine Higginson.

Now in its sixth year, Bespoke's purpose of showcasing adventurous choreography was less evident this year, writes Denise Richardson.

Leila Lois reviews 'Lightscapes', one of the Royal New Zealand Ballet's 70th anniversary offerings.

This was a truly spellbinding experience, writes Karen van Ulzen

The 2023 season of “STATE” provides a platform for two bold and unapologetic contemporary works, writes Alana Kildea.