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'The Door in Question' is part of Sleepless Footscray Festival. A moody and atmospheric photograph of a person wearing a white VR headset; they are framed by a window, making us feel almost voyeuristic as we look at them. Behind the seated figure are sheets of paper stuck on the wall, including old pages and photographs from a book.
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Immersive review: The Door in Question, 47 Paisley St, Footscray, Sleepless Footscray Festival 

A heady mix of VR, interactive AI and immersive theatre take over a series of empty rooms and suburban streets…

A scene from STC's 2025 production of Beckett's 'Happy Days'. A woman with her bottom half hidden in a mound of dirt. There's a black plastic bag next to her, and on her other side is man with his back to us, holding up a newspaper. He too is visible only from his waist up.
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Theatre review: Happy Days, Wharf 1 Theatre, Sydney Theatre Company

Lead actor and co-director Pamela Rabe shines in this staging of a classic Samuel Beckett play. 

Two panels. On the left is a blonde woman wearing black. On the right is the cover of ther book 'Always Home, Always Homesick.' It features mountain ranges in shades of mauve.
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Book review: Always Home, Always Homesick, Hannah Kent

Hannah Kent's first non-fiction book retreads the grounds of her Iceland-set bestseller, 'Burial Rites.'

Two young boys in a vehicle made out of spare parts play as part of the DreamBIG Children’s Festival's Big Weekend at Adelaide Festival Centre.
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Festival review: DreamBIG Children's Festival BIG Family Weekend, Adelaide Festival Centre

The DreamBIG Children’s Festival celebrated 50 years of inspiring children’s imaginations through art.

'Threshold' (2025) by Angel is part of the exhibition 'A Narrow Strip Along a Steep Edge' and is described by this reviewer as an artwork 'which put a physical form to fear'.
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Exhibition review: A Narrow Strip Along a Steep Edge, Fort Lytton, Brisbane

An artistic activation of a Victorian-era fort in Brisbane could signal a passing of the (avant) guard.

Two Indian women in colourful saris. One is standing, one is kneeling over some woven baskets.
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Theatre review: The Wrong Gods, Belvoir St Theatre

This thought-provoking but not entirely satisfying tale by S. Shakthidharan explores the cost of progress and development in 20th century…

A man and a woman are standing and staring at each other over a kitchen table; a vase of flowers and a pair of bongo drums sit on the table. The wallpaper behind them is colourful and graphic.
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Theatre review: The Lover and The Dumb Waiter, Ensemble Theatre

A double dose of classic Pinter plays.

British countertenor James Laing as the Refugee in State Opera South Australia's 2025 production, 'Flight'. A distressed-looking man dressed in slightly dishevelled, mostly brown clothing, stands in an airport terminal between two rows of uncomfortable-looking metal and plastic seats. The blue-lit panelled wall behind him evokes the bars of a prison cell, while four curving beams of light projected against the walls increase the impression of this man being trapped or avoiding the spotlight.
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Opera review: Flight, Her Majesty’s Theatre

State Opera South Australia’s ‘Flight’ is opera for our times.

Two panels. On the left is a woman sitting down against a red background. She has wavy blonde hair and is dressed in black. On the right is the cover of a book, 'Rytual'. It has a close up of glistening red lips.
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Book review: Rytuał, Chloe Elisabeth Wilson

Friday night drinks are not what you'd expect at this cult beauty company.

Six people dressed in varying costumes of white are huddle together on stage. In the background the words 'De-Kolo-nize' are spelt out diagonally.
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Performance review: UPU, Sydney Opera House

A poetic expression of the Pacific, its people and their stories.

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