- 30.Mar by Carl Nilsson-Polias
- Sayonara Tutti.
Spark Online is closed for business. Articles and reviews are online for archival purposes but correspondence will not be entered into.
- 21.Feb by Augusta Supple
- The Wild Duck | Belvoir
Belvoir. No longer with the “St Theatre” tail, tagging behind. Like Madonna or Oprah. This company needs no explanation… it’s built it’s reputation – and now the new artistic directorate (complete with a shiny brand new literary manager Anthea Williams) – is busy defining it’s new direction. There’s a fresh coat of paint in the [...]
- 11.Feb by Jana Perkovic
- Reviews: NO-SHOW and Invisible Atom (2)
- 06.Jan by Andrew Fuhrmann
- PS: Richard III
- 29.Sep by Carl Nilsson-Polias
- Interview with Paul Zivkovich
Akram Khan Company are coming to Melbourne for the first time this October when they bring Vertical Road to the Melbourne International Arts Festival. Ahead of the tour, we spoke to Paul Zivkovich, an Australian dancer in the show, who will be familiar to fans of ADT’s Held and Nigel Jamieson’s Honour Bound. Here’s what he had to say about his role in Vertical Road…
Interview with Paul Zivkovich (17min, mp4, 4.4MB)
- 12.Oct by Carl Nilsson-Polias
- MIAF Briefs: Hofesh Shechter
- 11.Sep by Jana Perkovic
- RW: En Trance
- 13.Dec by Lesley Chow
In the ‘70s and ‘80s, films often had female names: Frances, Isadora, Claudine, Gloria. Perhaps because women’s names are more easily mythologised, each of these titles was presented as a puzzle, a paradigm: the exploration of a single, distinctive note. In each case, the subject’s identity was seen as a mystery: a mournful mystery, as a difficult, too-sensitive woman finds herself crushed by society. Most often, the implied attitude seemed to be: How do you solve a problem like ____?