What impresses an audition panel? VIDEO interview

Stephanie Lake Company has an enormous 2024, with national and international touring and other exciting programming initiatives ahead.

Here's a sneak peek of what's inside the April/May/June issue.

We have two double passes to giveaway for A reserve tickets to Opening Night of 'Études / Circle Electric' on 3 May 2024 at Sydney Opera House.

This program of “Three” again promised works of creative risk-taking that would both push boundaries and challenge dancers and audiences alike, writes Denise Richardson.

Maggie Tonkin reviews two very different Adelaide Festival works.

These two performances in the last week of “Mad March” are linked by consideration for tradition, ritual, connection and human potential, writes Lisa Lanzi.

Deborah Brown is collaborating with Mãori choreographer and arts laureate Moss Te Ururangi Patterson to create a new work called ‘The Light Inside’, for Bangarra Dance Theatre.

Liesel Zink is currently working on two projects – one for Mature Artists Dance Experience (MADE), and the other for Stompin youth dance, both in Lutruwita/Tasmania.

The new boss of the Queensland Ballet talks to DENISE RICHARDSON about her new role.

There seems to be a recent reluctance among students and their parents to enter exams. Why? Michelle Dursun investigates.

Injuries will never be easy. However, dancers can prevent a decline in their physical and mental health by proactively supporting themselves and turning their injury time into something both powerful and productive, writes Lucy Christodolou.

Phil Chan is a choreographer as well as the co-founder of an organisation called Final Bow for Yellowface, which argues against using racial stereotypes on stage. Here he responds to our recent debate on 'cancelling' ballets like 'La Bayadere'.