Podcasts about Malthouse Theatre

Elousie chats to Jof about the return of her show 'Australia's First Attractive Comedian' at the Malthouse Theatre.For tickets and more information head to https://www.comedyfestival.com.au/browse-shows/australia-s-first-attractive-comedian/

The team share their predictions for word of the year 2024; theatre maker Susie Dee chats about upcoming show F Christmas at the Malthouse Theatre; Dr. Jen explains how handwriting and typing has different effects on how our brains learn; journalist Jon Ronson talks about his live-on stage-show about psychopaths and comedian Sashi Perera describes the pros and cons of eloping. With presenters Monique Sebire, Daniel Burt & Nat Harris.Website: https://www.rrr.org.au/explore/programs/breakfasters/Facebook: https://www.facebook.com/Breakfasters3RRRFM/Twitter: https://twitter.com/breakfasters

Richard starts off this week's show with a Malthouse Theatre 2025 season overview with Artistic Director Matt Lutton. Gunai/Kurnai woman and curator Amanda Haskard talks ACMI's major exhibition The Future and Other Fictions. And three interviews about Melbourne Fringe: performer and choreographer Alix Kuijpers tells Richard about Grim Grinning Ghosts, Mitch Jones (Oozing Future) discusses new alt-circus/theatre performance Apocrypha, and Oli Mathiesen talks about about the Aotearoa production The Butterfly Who Flew Into The Rave.

Send us a textCarissa Lee is a talented and multi-faceted Noongar actor based in Naarm, Melbourne. Since graduating from Flinders Drama Centre, she has made her mark across film, television and theatre. Most recently, she appeared as Principal Cruz in ABC's ‘Planet Lulin', and has also performed with Melbourne Theatre Company, the Malthouse Theatre, and State Theatre Company of South Australia. More than just an actor, however, she also completed her PhD at the University of Melbourne in which she focused on cultural safety and how to establish safe working environments between Mob and non-Indigenous arts practitioners in the performing arts.In this inspiring chat, Carissa spoke about the importance of genuine and meaningful cross-cultural collaboration in the arts, the journey of finding yourself as an artist after leaving drama school, the struggle of battling against imposter syndrome and the importance of community. Support the show

In this episode Elaine chats with actor and singer Michaela Burger about her show The State Of Grace. We chat the inspiration for the show, care when you are telling the stories of those who have been brave enough to share their stories, sex work and the outdated narratives around this and much more. The State of Grace Dates: 1st -24th August @7.05pm Tickets here: https://tickets.edfringe.com/whats-on/state-of-grace The State of Grace Grace was a high-class sex worker, who rose to meteoric fame on social media. She was an activist and modern-day maverick, until suddenly, she died... Award-winning artist Michaela Burger (A Migrant's Son, Exposing Edith) explores her legacy in this one-woman show. Through Grace's writing – unpublished hip hop lyrics, monologues and musings – Burger explores her multifaceted life. Her outrageously funny wit and charm, fearlessness and 'f*ck it' outlook on life will seduce you into marching with this social justice warrior who was determined to decriminalise the sex industry. Michaela Burger Described by Kate Ceberano as “an asset to the performing arts community”, Michaela Burger is the recipient of the Frank Ford award, Adelaide Fringe award, American Australian Association Scholarship (performing arts) and has been nominated for two Helpmann Academy Awards. Burger has performed with one of Broadway's most sophisticated writers, Jason Robert Brown, and has shared the stage with Australia's own Tina Arena, Paul Capsis, Alan John, Meow Meow, Nancye Hayes, Mitchell Butel, Johanna Allen, Cameron Goodall, Tyran Park, Robyn Archer, John Thorn and Daniel Koek. Her recent credits include Aftertaste (ABC TV & Closer Productions), Twelfth Night (Adelaide Botanic Gardens/Shakespeare South), Apocalypse Meow (Brooklyn Academy Of Music, New York & Malthouse Theatre), Rumpelstiltskin (Southbank Theatre London/Windmill & State Theatre of South Australia), Simply Brill (Adelaide Cabaret Festival/Amplified Assembly), Driftwood (Umbrella Productions/Chapel off Chapel), Can You Hear Colour? (Adelaide Festival & Patch Theatre), Cranky Bear (Patch Theatre) and Passion (State Opera Studios).Other performing credits include, Merry Widow (State Opera of South Australia), , Brel-The Immortal Troubadour (Adelaide Cabaret Festival), Rouge (Highwire Entertainment), Otello (State Opera of South Australia), Réquiem (State Opera of South Australia), Marriage of Figaro (Co-opera of South Australia), Tosca (Co-opera of South Australia), (Warner Brothers) and as the host of Humphrey B Bear (Banksia Productions, Chanel 9).In addition to winning the 2015 International Cabaret Contest, Burger is the co-writer and star of the world-renowned stage show Exposing Edith, about the life and songs of Edith Piaf and more recently a performer and creative on the team of Simply Brill. Her award-winning show, A Migrant's Son - which explores Greek migration to Australia - has received critical acclaim and features original music written by Burger. HIPA GUIDES: HIPA GUIDES OUR WEBSITE - www.persistentandnasty.co.uk Persistent Pal & Nasty Hero - Pals and Hero Membership Email – persistentandnasty@gmail.com Instagram - @persistentandnasty Twitter - @PersistentNasty Coffee Morning Eventbrite - Coffee Morning Tickets LINKTREE - LINKTR.EE Resources Samaritans - Rape Crisis Scotland - Rape Crisis UK ArtsMinds - BAPAM Freelancers Make Theatre Work Stonewall UK - Trevor Project - Mermaids UK Switchboard LGBT+ - GATE PLANNED PARENTHOOD DONATE - DONATE ABORTION SUPPORT NETWORK UK - ASN.COM- DONATE

Actress Bojana Novakovic talks about returning to the stage as Lady Macbeth in new Malthouse Theatre production, Macbeth (An Undoing); US politics expert Clare Corbould provides an update on the US election; the team discuss Christmas in July traditions; Fi Wright reviews Johann Hari's book Magic Pill; rare books expert Des Cowley chats about Melbourne Rare Books Week, and Nat has received a refund from a budget airline. With presenters Monique Sebire, Daniel Burt & Nat Harris.Website: https://www.rrr.org.au/explore/programs/breakfasters/Facebook: https://www.facebook.com/Breakfasters3RRRFM/Twitter: https://twitter.com/breakfasters. 

Macbeth is one of William Shakespeare's most popular plays, so why would anyone write a new version? Zinnie Harris is the writer of Macbeth (An Undoing), which is coming to the Malthouse Theatre. It fleshes out the story of one of the theatre's most notorious villains: Lady Macbeth.Also, The Woman in Black is a chilling ghost story that takes us to a lonely house beyond the marshes, where, as night falls, tormented spirits rise to their eternal purpose: to take revenge on the living. It's the second-longest-running play on London's West End and is now touring Australia with John Waters and Daniel MacPherson in the cast.

In a world premiere at Malthouse Theatre, audiences are invited to embark on a profound journey of self-discovery with "Homo Pentecostus." This compelling work by actor, dancer, and writer Joel Bray delves deep into his secret queer identity within the confines of a 1990s Pentecostal Church.

For decades, Australia's Back to Back Theatre has been delighting audiences with shows performed and devised by an ensemble of artists who are neurodivergent or living with a disability. Following their most recent major international award win, we visit the ensemble at their Geelong headquarters as they rehearse their new show: Multiple Bad Things.Also, alongside the stand-up, improv and cabaret at this year's Brisbane Comedy Festival, you can catch a play by one of our top writers: David Finnigan's 'apocalyptic rom-com', 44 Sex Acts in One Week. And singer, songwriter and comedian Jude Perl is staging her first full-scale musical at Arts Centre Melbourne this month. It's called Share House: The Musical.

Interview with Armenian/Greek actor Peter Paltos about the new play Homo Pentecostus which will premiere in the Malthouse Theatre next week. - Հարցազրոյց աւստրալահայ դերասան Փիթըր Փալթոսի հետ, Homo Pentecostus թատերական ներկայացումին մէջ իր նոր դերի մասին, որու բացումը պիտի կատարուի գալ շաբաթ:

Sarah joins Regina to talk about how she has paved her way in as a director and the things that interest her. As well as her latert production No Pay? No Way! on at Sydney Theatre Company.      Sarah Giles is an award-winning opera and theatre director. Described by Limelight Magazine as one of Australia's most thoughtful theatre-makers, she has a passion for comedy and opera and has directed over 25 productions for companies including Sydney Theatre Company, Melbourne Theatre Company, State Theatre of South Australia, Malthouse Theatre, Griffin Theatre, The Australian Chamber Orchestra, Sydney Chamber Opera, Opera Queensland, State Opera of South Australia and West Australian Opera.  Sarah is a freelance artist, who works as a director, dramaturg and adaptor. She works across Australia and is based in Naarm / Melbourne where she lives with her family. Sarah received Helpmann Award and Green Room Award nominations for Best Direction of an Opera for her world premiere Victorian Opera production of Lorelei which won Best New Australian work and Best Design at the Green Room Awards where it was nominated in five categories.

It's that time of year again… Melbourne International Comedy Festival! You can't escape it… so let's embrace it, with two fabulous comics joining Richard on the program. But he's got art and theatre covered too, of course! Kicking off with comedian Darby James whose kooky cabaret, ‘Little Squirt' (formerly SpunkDaddy), turns the big but rarely discussed topic of sperm donation into a naughty, risqué and sincere performance. Catch Little Squirt at the Malthouse Theatre, until April 21.Comedian Nathan Hugh Robért comes on to discuss, ‘Tiny King', a stand-up comedy hour about height, power and living with hemilpegic cerebral palsy. Nathan's show is running from the 9-21 April at The Dove Club.Artist Pia Johnson calls in to talk about her exhibition ‘Re-Orient' at the Immigration Museum, which launched on Saturday March 16 and is running until April 11. The collection is a site specific work exploring how we understand transnational communities and their histories.Producer Emma Khamis talks us through the magic of Monkey Baa Theatre's production of Possum Magic. After celebrating 40 years of Possum Magic in 2023, try your mightiest to take a child to the enchanting stage renditions Mem Fox and Julie Vivas' beloved picture book. The show runs from April 5-7 at the Alexander Theatre at the Ian Potter Centre of Performing Arts.

Author Hannah Moloney talks all about how to grow produce in Australia with her new book Good Life Growing; the team work out what animal they would race in a marathon; legendary Irish comedian and presenter Dara Ó Briain chats about his show So… Where Were We?; book reviewer Fi Wright shares her thoughts on Melissa Broder's Death Valley; director Matt Lutton talks about the immersive Malthouse Theatre production Hour of the Wolf; foodie Michael Harden gets giddy about gin; and Nat brings up the communal bin roster. With presenters Monique Sebire, Daniel Burt & Nat Harris, and guest presenter Jas Moore.Website: https://www.rrr.org.au/explore/programs/breakfasters/Facebook: https://www.facebook.com/Breakfasters3RRRFM/Twitter: https://twitter.com/breakfasters

Episode 2: ASSERTING COMPLEXITY. Vivian Nguyen & Jamie Tram Asian Australian playwright and actor Vivian Nguyen brings a wealth of stage experience. Her debut 'Thin Threads' was shortlisted for the Patrick White Playwrights Award and 'Bugged' was published in ATYP's National Studio. Her plays 'Politics Aside' and 'a moment to love' debuted to acclaim at Melbourne Fringe, and was supported by Theatre Works and City of Melbourne . She was shortlisted for the Red Stitch INK Writing Program, and was a recipient of The Wheeler's Centre Hot Desk Fellowship for 2023. She's been commissioned by Malthouse Theatre and Footscray Community Arts Centre. Her most recent work is 'The Astonishing Comet Boombox' which was presented in collaboration with City of Maribyrnong for Melbourne Fringe Festival. . Find her on instagram @vivngyn Jamie Tram is a culture writer and screenwriter. They are the Small Screens Editor at The Big Issue, and their work can be found in Spectrum at The Age, Senses of Cinema, Filmink, and elsewhere. They've appeared on ABC's Art Works and Triple R's Primal Screen to gush about their favourite Hong Kong actors (amongst other less important topics). In 2022, they co-wrote the animated short Graveyard Shift, which premiered at MQFF Opening Night. They are an alumni of MIFF's Critics Campus and the VCA, where they've since returned to tutor screenwriting. They are also a 2023 Hot Desk Fellow. Find them on instagram @jamiecatchesthetram, and twitter @sameytram Credits: Producer: Jess Zanoni (@jesszanoni) Co-Producer & Audio Engineer: Sam Pannifex (@otalgiaaudio) Intro Music: Georgia Farry @bby__g__) Artwork: Tinieka Page (@tinieka) With thanks to Henry Farnan, EWF's Marketing & Publicity Coordinator. With support from the Queen Victoria Women's Centre (@qvwc_melbourne), Creative Australia, Creative Victoria, City of Melbourne. Proud to showcase the works of creatives of @melcityoflit.

Composer and cellist Zoë Barry on how her unlikely experience of being struck by lightning on three separate occasions inspired her new artistic work in ‘The Nervous Atmosphere' at Arts House; Simon Abrahams, Creative Director and CEO of Melbourne Fringe walks listeners through the exciting new program for the 41st Melbourne Fringe Festival; Co-Artistic Directors Andy Freer and Nick Wilson of Snuff Puppets on their new festival, ‘Snuffest', bringing joy and giant puppets to Melbourne's West; Matthew Lutton, Artistic Director and Co-CEO of Malthouse Theatre explores the intriguing new program for Malthouse Theatre in 2024

Ash Flanders made his reputation with wildly funny, often surreal queer theatre made under the name Sisters Grimm with his creative partner Declan Greene. Now, Ash has put the glitter and wigs aside and written a new, naturalistic play called This Is Living. Also, multidisciplinary artist and "radical mischief-maker" Candy Bowers shares the works of art that have most inspired her journey on Top Shelf and we explore the themes of Stephen Sondheim's Sweeney Todd: The Demon Barber Fleet Street with the Sydney Opera House cast.

Ash Flanders made his reputation with wildly funny, often surreal queer theatre made under the name Sisters Grimm with his creative partner Declan Greene. Now, Ash has put the glitter and wigs aside and written a new, naturalistic play called This Is Living.Also, multidisciplinary artist and "radical mischief-maker" Candy Bowers shares the works of art that have most inspired her journey on Top Shelf and we explore the themes of Stephen Sondheim's Sweeney Todd: The Demon Barber Fleet Street with the Sydney Opera House cast.

Danny Ball is a proud Italian-Australian actor, producer, educator and writer/director. He graduated from NIDA in 2016. Born in Melbourne; during high school he developed an interest in filmmaking and literature as well as being a committed martial artist competing at a national level. He studied a Bachelor of Arts at the University of Melbourne where he became involved in student theatre; performing in plays as well as producing and directing his own work. He subsequently formed an independent theatre company and produced two new Australian works; The Apartment and Narcissus (Melbourne Fringe Festival)  As an actor his work includes Blackrock, Macbeth, Mercury Fur, Concrete, Romeo & Juliet, The Serpent's Teeth, Much Ado About Nothing, Cleansed and The Italians. As playwright, his debut play, Adidas Girls, was produced by the Drama Studio and performed at Illawarra Performing Arts Centre in 2021. His play, The Italians, received a production in Sydney in 2022 at Belvoir theatre as part of the 25A program. This production can be accessed for screening from www.australiantheatre.liveIn 2022 he directed Tom at the Farm at the Kings Cross Theatre, KXT.Danny also navigates his passion as an arts educator and tutor working for NIDA Open, ATYP, Bell Shakespeare and Parramatta Actors Centre - teaching young people and adults in a range of contexts from school holiday programs to Juvenile Justice Residencies.From May 5 to 25, Danny play's Ari in the adaptation of Christos Tsiolkas' Loaded at the Malthouse Theatre in Melbourne.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Not long ago, Liz Kingsman was doing improv and sketch comedy with her friends in England. Now, this Sydney-born comedian is the talk of the comedy world. She's taken her universally acclaimed satire One Woman Show to the West End, it's now on at the Melbourne Comedy Festival, and her next stop is New York.Also, Berlin art rocker siblings Otto and Astrid from Die Roten Punkte go solo together in Otto and Astrid's Joint Solo Project and Circus Oz return to the stage for the first time since 2021 when the company was threatened with closure.

Not long ago, Liz Kingsman was doing improv and sketch comedy with her friends in England. Now, this Sydney-born comedian is the talk of the comedy world. She's taken her universally acclaimed satire One Woman Show to the West End, it's now on at the Melbourne Comedy Festival, and her next stop is New York. Also, Berlin art rocker siblings Otto and Astrid from Die Roten Punkte go solo together in Otto and Astrid's Joint Solo Project and Circus Oz return to the stage for the first time since 2021 when the company was threatened with closure.

Stream podcast episodes on demand from www.biteszhq.com (mobile friendly). Made In China 2.0 – (Malthouse Theatre, Melbourne, Australia) I'm faced with a predicament I can't say I've confronted too many times in decades of reviewing. I've just seen a compelling piece of theatre which I'm about to highly recommend, but I'm going to resist going into detail about the plot because of political sensitivities. For more details on this production visit https://www.malthousetheatre.com.au/tickets/malthouse-theatre/made-in-china-2-0/For more Theatre reviews from Alex, visit https://www.bitesz.com/show/theatre-first/ Subscribe, rate and review Theatre First at all good podcast apps, including Apple Podcasts, Spotify, Google Podcasts, Stitcher, Pocket Casts, CastBox.FM, Podbean, Spreaker etc. If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you. Theatre First RSS feed: https://www.spreaker.com/show/4988589/episodes/feed For more podcasts visit our HQ at https://biteszhq.com #podcast #theatre #stage #reviews #melbourne #australia #review #madeinchina

Theatre First Episode 373 Stream podcast episodes on demand from www.biteszhq.com (mobile friendly). Nosferatu – (Malthouse Theatre, Melbourne, Australia) The play starts with a heartfelt warning from one of the characters that only tragedy puts you on the map. A plea to save ourselves, that's us the audience, as it's too late for her, rings out. Hence begins the tale of an unremarkable mining town in Tasmania beset by evil. For more details visit https://www.malthousetheatre.com.au/tickets/malthouse-theatre/nosferatu/ For more Theatre reviews from Alex, visit https://www.bitesz.com/show/theatre-first/ Subscribe, rate and review Theatre First at all good podcast apps, including Apple Podcasts, Spotify, Google Podcasts, Stitcher, Pocket Casts, CastBox.FM, Podbean, Spreaker etc. If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you. Theatre First RSS feed: https://www.spreaker.com/show/4988589/episodes/feed For more podcasts visit our HQ at https://biteszhq.com #podcast #theatre #stage #reviews #melbourne #australia #review #malthousetheatre #nosferatu

Content warning: The Wheeler Centre wishes to advise this recording includes discussion about human bodies in collections, which were taken from their cultural places against the wishes of First Nations communities. Repatriation is an issue at the heart of many cultural institutions, as museums and galleries reckon with the violent colonial histories that underpin significant portions of their collections. Once sought and traded as aesthetic trophies and scientific evidence, Aboriginal and Torres Strait Islander objects and ancestral remains, housed and hidden in institutions across the world are thought to number in the many thousands. Malthouse Theatre's production of The Return which premiered as part of RISING in 2022, engaged with the importance of returning these items and remains back to Country. This epic theatre experience spanned 250 years and explored the untold perspectives of these macabre true histories and the false justifications behind them. In this episode, hear from The Return's writer John Harvey and co-director Jason Tamiru, along with senior curator Kimberley Moulton. With host Daniel James, the panel consider the play's themes, alongside Moulton's insights into alternative models of collection and display that prioritise community access and situate these cultural belongings within a continuous flow of history. At the intersection of creative exploration and institutional knowledge, they discuss how the repatriation of Ancestors can bring us closer to truth-telling and First Peoples agency in museums. Presented in partnership with RISING and Malthouse Theatre. This event was recorded on Tuesday 31 May 2022 at the Wheeler Centre. Featured music is DEX 1200 - The Chakra MovementSupport the Wheeler Centre: https://www.wheelercentre.com/support-us/donateSee omnystudio.com/listener for privacy information.

Lisa Maza is a singer, actor, writer and film-maker. It is no surprise that she has accomplished such vast artistic endeavour, growing up surrounded by theatre-makers; her father being the legendary trailblazer, Robert Maza. Lisa made her stage debut at the age of eight, playing a little boy called ‘Pumpkinhead' in Robert Merritt's The Cakeman. It was the first all Aboriginal/Torres Strait Islander-run production performed at the newly formed National Black Theatre, and was directed by Robert Maza. In 2007 she began co-writing with her sister, their autographically inspired theatre show Sisters of Gelam, which premiered at Malthouse Theatre in 2009. In 2011 Lisa travelled to London to perform in Belvoir's Production of The Sapphires. In 2016, Lisa performed in Kate Miller-Heidke's award-winning ‘The Rabbits', a collaboration between Opera Australia and Perth-based Barking Gecko Theatre Company, adapted from the picture book by John Marsden and Shaun Tan by librettist Lally Katz. In addition to her eclectic performance career, her theatre writing and documentary-making, Lisa has expanded her skill set along the way in a range of other areas that include theatre administration, tour managing, project management, MC work, and associate producing. Lisa performs in the triple Oliver Award winning stage show of Emilia which is making its Australian debut at Art Centre Melbourne from 10-27 November. The production will then tour to Canberra. Written by British playwright Morgan Lloyd Malcolm in the midst of the Me Too movement, this Australian production features a team entirely made up of women and non-binary creatives from diverse cultural backgrounds as they unite to celebrate women's voices through the story of this trailblazing forgotten woman. The STAGES podcast is available to access and subscribe from Spotify, Apple podcasts or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Choreographer Stephanie Lake gets dancers to perform with a kind of joy and discipline which would hold the attention and the wonder of anyone. She currently has work on the way for the Sydney Dance Company, Malthouse Theatre and Sydney Festival, and even more in the pipeline. Also, a company of dancers from war-torn Ukraine are now in Australia with a production of Tchaikovsky's Swan Lake and Adelaide's Restless Dance Theatre, which creates work by dancers with and without disability, take their collaboration with Chunky Move, Rewards for the Tribe, to the UK.

Choreographer Stephanie Lake gets dancers to perform with a kind of joy and discipline which would hold the attention and the wonder of anyone. She currently has work on the way for the Sydney Dance Company, Malthouse Theatre and Sydney Festival, and even more in the pipeline.Also, a company of dancers from war-torn Ukraine are now in Australia with a production of Tchaikovsky's Swan Lake and Adelaide's Restless Dance Theatre, which creates work by dancers with and without disability, take their collaboration with Chunky Move, Rewards for the Tribe, to the UK.

Malthouse Theatre's artistic director Matthew Lutton introduces the 2023 season; Comedian, drag king, DJ and producer Natali Caro talks ‘Thanks For Having Me', a FRINGE comedy night for PoC and queer artists; Two members of Head First Acrobats, Thomas Gorham and Cal Harris, discuss their FRINGE comedy circus show ‘GODZ'. With presenter Richard Watts.

Ash Flanders is a multi-award winning playwright and screenwriter from sunny Melbourne. In 2006 he and Declan Greene formed theatre company Sisters Grimm and together they have written a dozen shows including Summertime in the Garden of Eden (Theatre Works, Griffin Theatre), Little Mercy (STC), The Sovereign Wife (MTC), Calpurnia Descending (Malthouse/STC) and Lilith: The Jungle Girl (MTC). Ash has also created the solo shows Meme Girls (Malthouse), Special Victim (Feast Festival), Playing to Win (Arts Centre Melbourne), Ash Flanders is NOTHING and End Of (Darebin Speakeasy) as well as SS Metaphor at The Malthouse Theatre. Ash has been invited to present work for the Emerging Writers' Festival, The Wheeler Centre's Show of the Year as well as Women of Letters, where his letter was chosen to be published in the book Signed, Sealed, Delivered: Women of Letters. His erotic Golden Girls fan fiction became the short film Divine Decadence of Cheesecake which played Frameline, Out On Film, LLFF Canada and other international film festivals. He co-wrote the web series FRIENDLY (over 10K views) and has a slate of fresh screen projects in development, including a series taken from the world of his solo shows. Ash will premiere a new play, This is Living, at The Malthouse Theatre in Melbourne, in 2023. Over the next 2 months, Ash will be performing a solo show, also penned by Ash; titled End Of. It plays the Griffin Theatre in Sydney from October 13th to November 5th. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Bert LaBonte joins Regina Botros to talk about life in the theatre and A Raisin in The Sun.  Sydney Theatre company.   One of Australia's leading men, Bert's Melbourne Theatre Company credits include: The Truth, Kiss of the Spider Woman, Lungs, Rupert, Birdland, The Mountaintop, Elling, A Behanding in Spokane, Clybourne Park, Richard III and others. For Sydney Theatre Company, he has performed in A Raisin in the Sun, All My Sons, The Grenade and Spelling Bee, and his Malthouse Theatre credits include: Cloudstreet, I am A Miracle, Time Share.  Musical theatre credits include: The Book of Mormon (Watchtower Productions), Helpmann Award Winner An Officer and a Gentleman (Gordon Frost Organisation), Chess (The Production Company), Grey Gardens (The Production Company), Pippin (Kookaburra Theatre), Full Monty (IMG / David Atkins), Jesus Christ Superstar (Really Useful Group), Showboat (Livent/Marriner Productions), Guys and Dolls (Ambassador Group).  Screen credits include FISK (ABC), The Newsreader (ABC), Surviving Summer (Netflix/Werner Film Productions), Literary Lethargy (Baby Banksia), Jack Irish (ABC), With Intent (Freemantle Media), a recurring role on Wentworth (Foxtel), Playing for Keeps (Network Ten), Upper Middle Bogan (ABC), Tomorrow When The War Began (ABC), Lowdown (ABC), Wilfred (ABC), The Let Down (ABC/Netflix), and Squinters (SBS). Film credits including Animal Kingdom (Porchlight Films) and The Very Excellent Mr. Dundee (Kathy Morgan International). 

“You know, for me, I loved reading, but I didn't exist on those pages and when a child of any age doesn't exist in our mainstream, in our books, in our stories, they start believing they're not important.”  – Melina Marchetta  Looking for Alibrandi broke new ground with its honest and empowered portrait of an Italian-Australian teen coming of age in 1990s inner Sydney, speaking authentically about systemic racism in Australia from a migrant perspective.   For generations of teens, the beloved novel (and later cult movie) is a foundational story. Its exploration of family, womanhood, first love, identity and othering still resonates with readers today, 30 years after its release.  Now, Melina Marchetta's novel has been adapted for the stage. In this special collaboration between the Wheeler Centre and Malthouse Theatre, Marchetta joined playwright Vidya Rajan, director Stephen Nicolazzo, and the film's star Pia Miranda to discuss Looking for Alibrandi's journey from page to screen to stage, the art of adaptation, and the enduring impact of this Australian classic.   This conversation was hosted by Brodie Lancaster and recorded at the Malthouse Theatre on 18 July 2022.  The bookseller was Hill of Content Bookshop.  Music: Pastel Colours by Sarah, The Illstrumentalist Support the Wheeler Centre: https://www.wheelercentre.com/support-us/donateSee omnystudio.com/listener for privacy information.

We're back with a new episode of the Theatre Thoughts Podcast. On this episode of the podcast, we sit down with Creative Director Natalie Rose of Shopfront Arts Co Op to discuss the newest work of their Harness Ensemble, Where Shall We Meet?  Natalie's time in theatre spans over 20 years and with a wealth of experience behind her she had more than enough theatre thoughts to satiate our appetite. Listen to Natalie discuss where the group POST and the Harness Ensemble came from, the importance of making theatre reflective of its audience, and where she wants to see Shopfront go in the future. Tickets for the performances of Where Shall We Meet at Shopfront Arts Co Op from 5th-9th October can be booked at shopfrontarts.org.au or through this link. Don't forget you can find all our episode information on our dedicated podcast site. Follow the link in this episode's description or follow us on Instagram @theatrethoughtsaus as well as our Youtube Channel. You can find all of our THEATRE THOUGHTS LINKS on our Linktree. ABOUT NATALIE Natalie Rose is one third of the performance collective POST, Creative Director at Shopfront Arts Co-op, and has been involved in Australia's Contemporary Arts scene for the past 22 years. Her work has been seen nationally and internationally at Sydney Festival, Belvoir, Sydney Theatre Company, Malthouse Theatre, Cambridge Junction (UK) and Sydney Opera House. Most recently with POST, Oedipus Schmoedipus has toured to Santiago Chile, West Kowloon Cultural Precinct Authority in Hong Kong and in 2020 was to be showcased as a part of AsiaTOPA at Arts Centre Melbourne. Their 2017 Sydney Festival work Ich Nibber Dibber was remounted at Sydney Opera House and Malthouse Theatre. Nat has facilitated workshops for the past 22 years for young and emerging artists with and without disability. In 2022, she will continue to develop this work, direct Shopfront's Harness Ensemble in the third full-length work Where Shall We Meet? and devise a new work with Young People from Shopfront and ATYP titled The Lies We Were Told. Nat was most recently selected by the Australia Council for the Arts as a 2022 Arts Leader recipient. WHERE SHALL WE MEET? Where Shall We Meet is a compelling and powerful new performance from our Award Winning Harness Ensemble - a group of emerging artists with and without disability and mental health diagnosis. In this new work directed by Natalie Rose and Jane Phegan, the vibrant differences of life experience within the group have led to a compelling and powerful performance in which they celebrate otherness, welcome difference and break apart the boxes they have casually been squashed into. Exploring ideas of connection and the desperate things we will do to hold onto others, Where Shall We Meet tackles the messy process of connecting with others in an increasingly disconnected world. Do you know where you belong? PODCAST HIGHLIGHTS 01:22 - About Natalie 05:10 - Where did this idea come from? 11:25 - Making new Australian plays 14:36 - Where Shall We Meet? 19:58 - Where next for Shopfront? Learn more about your ad choices. Visit megaphone.fm/adchoices

Declan Greene is the Artistic Director of Griffin Theatre Company and works as a playwright, dramaturg and director. He was previously Resident Artist at Malthouse Theatre. As a playwright, his work includes Eight Gigabytes of Hardcore Pornography, The Homosexuals, or ‘Faggots', Melancholia, Moth, and Pompeii L.A. Declan co-founded queer experimental theatre company Sisters Grimm with Ash Flanders in 2006, and has directed and co-created all their productions to date, including: for Griffin Independent and Theatre Works: Summertime in the Garden of Eden; for Malthouse Theatre and Sydney Theatre Company: Calpurnia Descending; for Melbourne Theatre Company: Lilith: The Jungle Girl; and for Sydney Theatre Company: Little Mercy. As a director, his credits include: for Griffin: Dogged, Green Park, Whitefella Yella Tree; for Malthouse Theatre: Wake in Fright; for Malthouse Theatre and Sydney Theatre Company: Blackie Blackie Brown; for Sydney Theatre Company: Hamlet: Prince of Skidmark; for ZLMD Shakespeare Company: Conviction. Declan has won awards including the Malcolm Robertson Prize, the Max Afford Playwright's Award, an AWGIE for Theatre for Young Audiences and the Green Room Award for Best Original Writing. Declan has just launched the 2023 season for the Griffin Theatre Company. He joined STAGES to elaborate on the season and to reflect on his unique role as an Artistic Director and as one of our most exciting and inventive theatre-makers. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Theatre First Episode 357Stream podcast episodes on demand from www.biteszhq.com (mobile friendly).K-Box – (Malthouse Theatre, Melbourne, Australia)Identity is the theme of a dramatic comedy about a 34 year old who's trying to get a sense of self.For more details visit: https://www.malthousetheatre.com.au/tickets/malthouse-theatre/k-box/ For more Theatre reviews from Alex, visit https://www.bitesz.com/show/theatre-first/ Subscribe, rate and review Theatre First at all good podcast apps, including Apple Podcasts, Spotify, Google Podcasts, Stitcher, Pocket Casts, CastBox.FM, Podbean, Spreaker etc.If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you.Theatre First RSS feed: https://www.spreaker.com/show/4988589/episodes/feed For more podcasts visit our HQ at https://biteszhq.com #podcast #theatre #stage #reviews #melbourne #australia #review #k-box

We had SO MUCH FUN with this guest and we think you will too. Korean-Australian adoptee Ra Chapman is a writer, actor and dramaturg. She has strong ties with the adoption community and works closely with Asian-Australian and diverse artists. Ra is one of those people who has been on our list of guests to invite for a long time, but we were just waiting for the right moment—and here it is! Ra's debut play, K-BOX, which won the 2021 Patrick White Playwright Award, will premiere at the Malthouse Theatre next month (and we are so freakin' proud of her!). K-BOX is a surreal comedy with an Australian Korean adoptee main character named Lucy. Lucy has just quit her job, dumped her boyfriend, and turned up on her adoptive parents' doorstep needing somewhere to crash. She's depressed, she's a mess, and she's stumbled across an old cardboard box that was once full of childhood memories but is now completely empty. Lucy and her parents haven't always seen eye to eye on everything, but when a K-Pop star mysteriously wanders into their lives and starts asking destabilising questions about her Korean roots, new fault lines are exposed in the family unit that become impossible to hide. In this episode Ra talks about the inspiration for K-BOX, as well as her transition from acting to writing. Then Ra shares her experience as an Asian Australian actor and writer, and her thoughts on diversity and representation in the Australian arts scene. Plus, we make our acting debut reading a short excerpt from K-BOX, we learn some industry lingo, such as “meat puppet”, and much more. K-BOX opens at the Malthouse Theatre, in Melbourne, Australia on 2nd September 2022. Book tickets here! https://www.malthousetheatre.com.au/tickets/malthouse-theatre/k-box/

Emme Hoy joins Regina Botros to talk about her adaptation of The Tenant of Wildfell Hall. Emme Hoy was appointed Sydney Theatre Company's new Patrick White Playwrights Fellow, one month before her adaptation of Anne Brontë's The Tenant of Wildfell Hall – opened at Roslyn Packer Theatre. Hoy's relationship with STC began in 2017 when she became a member of the inaugural Emerging Writers Group; she then went on to write additional scenes for the Company's 2018 production of Saint Joan starring Golden Globe Award-winner Sarah Snook. Shortlisted for the 2019 Bruntwood Prize and recipient of the Belvoir's Philip Parson's Fellowship for Emerging Playwrights, the 2020 NIDA STC Pathways Commissions and Melbourne Theatre Company's Writer in Residence Program, Emme completed her Master of Fine Arts in Writing for Performance at NIDA. Her original television series Nobody's Perfect was longlisted for the Australian Writers' Guild's prime time screenwriting competition, shortlisted in the ABC/AWG Laugh Out Loud competition, the Monte Miller Awards, and was a semifinalist in WeScreenplay's international television competition. In 2020 she won the AWG/Audible On Air Competition with her original series Left Behind. In 2017 Emme's play Extinction of the Learned Response was shortlisted for the Patrick White Playwrights Award, the Griffin Award and the 2018 Theatre 503 Playwriting Award; her co-written play Bathory Begins was awarded the 2019 ATYP co-commission; whilst her original play Cry Havoc won the 2020 ATYP Foundation Commission. Emme's plays include: Salem (NIDA); Strangers (Bondi Feast); Five Year Plan (Silent Theatre); Saint Joan (Additional Text, Sydney Theatre Company); La Finta Giardiniera (Queensland Conservatorium), Extinction of the Learned Response (Belvoir's 25a); and Bathory Begins (ATYP, Q Theatre). In June 2022, Emme's play, The Tenant of Wildfell Hall will premiere at Sydney Theatre Company's Roslyn Packer Theatre. Emme currently has various projects in development, including commissions with Malthouse Theatre, Melbourne Theatre Company and ATYP, as well as an audio series with Audible. Emme also has original television shows in development with Disney+ and Clerkenwell Films, Moonriver TV, Firebird Films, Val TV and Jungle. She is a writer for Sally Wainwright's The Ballad Of Renegade Nell and Nautilus for Disney+; as well as The Jump – an upcoming Australian dark comedy for Stan and Sundance.  

Post-post-modern diva Meow Meow has hypnotised, inspired, and terrified audiences globally with unique creations and sell-out seasons from New York's Lincoln Centre and Berlin's Bar Jeder Vernunft to London's West End and the Sydney Opera House.As well as being a prolific original music, theatre and dance-theatre creator for such commissioners as Pina Bausch, David Bowie and Mikhail Baryshnikov,Meow Meow specialises in the Weimar repertoire and French chanson. She has played Jenny in Brecht/Weill's Threepenny Opera in Paris and London with the London Philharmonic and Anna 1and 2 in Brecht/Weill's Seven Deadly Sins with Orchestra Victoria, and with United Ensemble at the Konzerthaus Berlin.Meow Meow's original works include Vamp, Beyond Glamour, Feline Intimate, Meow Meow's Little Match Girl, Meow Meow's Little Mermaid, His Master's Choice, Apocalypse Meow, and An Audience with Meow Meow. Concert work includes Meow Meow's Pandemonium with the London Philharmonic, Bergen Philharmonic and Sydney Symphony Orchestras. She recently appeared in Barry Humphries's critically acclaimed Weimar Cabaret season at the Barbican and at the Kennedy Centre in Washington DC.In other works, Meow has played Titania in Emma Rice's A Midsummer Night's Dream at Shakespeare's Globe and appeared on the West End in Kneehigh and Michel Legrand's The Umbrellas of Cherbourg in a role created especially for her - La Maîtresse. She played Pegleg in Tom Waits' musical fable The Black Rider with Victorian Opera and Malthouse Theatre; Édith Piaf in Cocteau's Le Bel Indifferent, for the Greenwich Music Festival and an acclaimed Miss Adelaide in Guys and Dolls with the Royal Philharmonic at Royal Albert Hall.Meow Meow has performed as guest artist with iconic orchestra Pink Martini at the Berlin Philharmonie, Royal Albert Hall, Opera Garnier Monte Carlo, the Hollywood Bowl, and across the concert stages of Europe, Canada, and the United States. Their album Hotel Amour: Meow Meow with Thomas M. Lauderdale includes duets with Rufus Wainwright, Barry Humphries, the Von Trapps and the late Michel Legrand. It was released in 2019 and named one of The Times' top 100 albums of the year.Meow Meow is a favourite performer at Adelaide Cabaret Festival and returns this year performing with the Adelaide Symphony Orchestra. Meow Meow's Pandemonium plays at Her Majesty's Theatre on June 18th.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

See Also is a weekly dispatch that connects the dots of pop culture, with plenty of further reading and ideas to Add To Cart – or at least Open in New Tab.This week, Kate and Brodie are back together, catching up on where they've been (Cannes! Lydia Schiavello from The Real Housewives of Melbourne's house!), what they've been watching (Stranger Things and The Staircase) and the things they're recommending.ALSO ALSOSEAT ALSO: Hero @ ACMILUG ALSO: July luggage + Muji packing cubesREAD ALSO: Tart magazineREAD ALSO: Metrograph JournalSKIN ALSO: GOOP dry brushBUY ALSO: Hourglass Voyeur Waterproof Liquid Liner and Caution Extreme Lash Mascara – specifically from Mecca on Lygon St.Find us on Instagram @seealsopodcastPLUG: Buy tickets to see Adapting Alibrandi, the panel Brodie is hosting at the Malthouse Theatre on 18 July. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

This week we’re talking to the playwright, author, and Guardian columnist, Van Badham. Over the course of our chat, we cover her humble beginnings to early steps as a playwright at the University of Wollongong to studying theatre in Britain and having multiple award-winning plays staged over there, to her residency at the prestigious London Academy of Music and Dramatic Art, and being appointed Literary Manager at Britain’s renowned Finborough Theatre. We also discuss Van returning to Australia, and taking a job working at the Malthouse Theatre in Melbourne before The Guardian and television punditry came calling. It’s been a wild journey, but it was a journey Van always knew she’d be going on.  This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit adamzwar.substack.com

Theatre First Episode 331Stream podcast episodes on demand from www.bitesz.com (mobile friendly).The Return – Malthouse Theatre, Melbourne Australia An epic, 250-year story to return home the captive bodily remains of first peoples.Once considered ‘exotic' trophies of antiquity, the bodily remains of Indigenous men, women, and children served scientific theories of evolution and were prized objects displayed on mantelpieces. In the cover of darkness, grave robbers would pillage burial grounds, to sell Ancestral remains to the highest bidder under the guise of scientific research. Thousands were stolen and sold.Today, they are still locked away.For more information https://www.malthousetheatre.com.au/tickets/malthouse-theatre/the-return/ For more Theatre reviews from Alex, visit https://www.bitesz.com/show/theatre-first/ Subscribe, rate and review Theatre First at all good podcast apps, including Apple Podcasts, Spotify, Google Podcasts, Stitcher, Pocket Casts, CastBox.FM, Podbean, Spreaker etc.If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you.Theatre First RSS feed: https://www.spreaker.com/show/4988589/episodes/feed For more podcasts visit our HQ at https://bitesz.com #theatre #stage #reviews #melbourne #australia #thereturn

Jason Tamiru talks co-directing ‘The Return', which recounts the macabre history of the stolen bodily remains of First Peoples, for Malthouse Theatre and RISING; Art Gallery of Ballarat Director Louise Tegart on the lesser known Australian art movement of Max Meldrum and the tonalists for their new exhibition ‘Light & Shade'; Performers John Marc Desengano and Emily Tomlins discuss ‘The View From Up Here' a play set in the aftermath of a bushfire from Hot Mess Productions and Theatreworks. With presenter Richard Watts.

Tchaikovsky's opera about a blind princess, Iolanta, raises challenging questions about the nature of disability — questions the West Australian Opera confronts head on in a new production reimagined with members of the blind and vision-impaired community. Also, we hear two Sri Lankan Australian brothers debate 'wokeness' in a scene from the new comedy Stay Woke and we pay tribute to the theatre director and arts leader Andrew Ross, director of pioneering works by Aboriginal writers Jack Davis and Jimmy Chi.

Zindzi Okenyo has a lot on her plate. The actor, musician and Play School host is now a theatre director. Her first plays, Seven Methods of Killing Kylie Jenner and Orange Thrower, are bitingly honest portrayals of growing up black in predominantly white communities. Also, when Kim Crotty couldn't be with his sons, he wrote them stories instead — 47 of them. These stories are shared in a new play at this year's Perth Festival called The Smallest Stage — a play that also reveals the reason for their separation: Kim was in prison.

IT'S OUR ONE YEAR ANNIVERSARY! And no better way to celebrate than to have the iconic cabaret artist and musical director Victoria Falconer on the show. We dive into Victoria's career as a cabaret artist, travelling the world with her feminist power trio, her flavour of musical direction and the incredible People of Cabaret initiative. Join Tiana as she rides solo this week (Giorgia was busy being a superstar in Cry Baby rehearsals!), and hear about the lady who can seriously do it all! A little bit more about Victoria: Victoria Falconer is a cabaret artist, multi-instrumentalist, theatre maker and musical director. Her most recent projects include co-creating and hosting Smashed: The Brunch Party, a femme-fronted, fiercely diverse drag cabaret show that received 5 star reviews and won a Pick of the Fringe Award for its debut season at Adelaide Fringe, whilst concurrently performing in The Boy Who Talked To Dogs, a co-production by Slingsby Theatre and State Theatre South Australia for Adelaide Festival 2021. She is co-creator & performer with acclaimed feminist firebrands Fringe Wives Club, whose debut show Glittery Clittery has been presented on stages including Southbank Centre, Soho Theatre (London), Griffin Theatre (Sydney), Darwin Festival, Bats Theatre (Wellington) and at Edinburgh Fringe, where it received the Spirit of the Fringe Award in 2018. Victoria is a founding director for The People of Cabaret, an initiative formed in 2020 to amplify and advocate for artists who identify as Indigenous and/or Bla(c)k and/or people of colour working in cabaret, circus, burlesque and associated disciplines. In their first six months of existence, they have curated a two week residency of shows at Darlinghurst Theatre Company, presented an online extravaganza for Melbourne Fringe (winning their Spirit of the Fringe Award), and hosted/produced their first Sydney Festival show We Are Here. Victoria also leads the Mentorship Program, empowering and upskilling IBPOC artists across the country. She has twice received the Best Cabaret Award at Adelaide Fringe (2018 & 2011). In 2019 she was nominated for a Sydney Theatre Award (Once, Darlinghurst Theatre Company) and a Green Room Award (Glittergrass, Malthouse Theatre) for musical direction. Other MD credits include Insane Animals (HOME Manchester), Courtney Act's Under The Covers (Underbelly, London) Unroyal Variety (Hackney Empire), Sasquatch The Opera (Summerhall, Edinburgh) and Oklahoma! (Black Swan State Theatre Company). If you would like to follow Victoria's work, you can find her @victoria_falconer on instagram, Victoria Falconer on Facebook, or at www.maestramusic.org/profile/victoria-falconer for her artist page. Additionally this is the link to the mentorship program with People of Cabaret https://www.thepeopleofcabaret.com/the-mentorship We'd love to hear your thoughts from this episode on our instagram @companypod, or Facebook Company Podcast. Hosted and Created by Giorgia Kennedy and Tiana Catalano Edited and Produced by David Duketis Music by David Duketis Graphic Design by David Duketis

A very special episode eight coming at you! On the podcast this week we were oh so lucky to be able to sit down and chat with the wonderful Eddie Perfect! Eddie Perfect is one of Australia's most diverse, respected and prolific writer/composer/performers. He's won multiple awards for his work both as a performer and writer, and most recently wrote the music for Beetlejuice the musical on Broadway which was nominated for eight tony awards. Some of Eddie's television credits include Offspring, Kath and Kim, Stingers, Blue Heelers and Spicks And Specks and theatre credits include Bat Boy , The Big Con, Keating! The Musical, Shane Warne The Musical , Misanthropology and TheThreepenny Opera. Eddie has written and toured several shows including but not limited to Angry Eddie, Cliff Hanger: Catch A Falling Star, The Big Con with Max Gillies and Drink Pepsi Bitch. He has composed music for multiple Malthouse Theatre's productions and has also performed music for the Helpmann, Awgie, Inside Film Awards and for Network 10's Offspring. This is a very condensed version of his credits, so be sure to check out Eddie's website eddieperfect.com.au for more! In this episode, we spoke about what it means to have artistic integrity and be constantly evolving, Eddie's journey from drama school to Tony Award nominated writer, and the joy he finds in creating his own work. If you liked this ep, please leave a rate and review wherever you listened to this podcast, and come and follow us on Instagram and Facebook @companypod. We'd love to hear your thoughts! Hosted and Created by Giorgia Kennedy and Tiana Catalano Produced and Edited by Douglas Rintoul Media by Deirdre Khoo (deedledumdesigns) Music by David Duketis

Throughout his childhood, Eamon felt like there was something "different" about him, something that he felt couldn't fully be explored or talked about. But once Eamon witnessed Bille Brown's rendition of Oscar Wilde in 'The Judas Kiss', his interest in the creative industry opened up a realm of possibility for him. Eamon has since worked as a director, actor, writer and dramaturg for Belvoir, Melbourne Theatre Company, Malthouse Theatre, Bell Shakespeare's Mind's Eye, Perth International Arts Festival, Darwin Festival, Playwriting Australia and various other companies. His production of 'Counting & Cracking' won seven Helpmann Awards in 2019, including Best New Australian Work, Best Production of a Play and Best Direction of a Play. See omnystudio.com/listener for privacy information.

This week, filmmaker Em Baker joins Breakfasters to talk about her new film I Am No Bird; What is the proper etiquette for karaoke? Find out as the team discuss it; Apocalypse Meow: Crisis is Born is playing at Malthouse Theatre, and cabaret performer Meow Meow chats about the show and her extensive career; This year's Christmas events have already started, and the team discuss the Christmas dinner's they've already attended; Dr. Andi  presents some interesting facts about sleep in this week's 'Weird Science' segment; Music expert Mary Mihelakos from the Melbourne Music Bus Tour talks about Melbourne's cultural heritage. And last, but not least, X-men film producer Jason Taylor is in town for the Screen Forever conference, and manages to squeeze in an interview. With Sarah Smith, Geraldine Hickey and Daniel Burt

In this episode we visit a theatre, a prison and an analyst's chair to ask: are China's little emperors really spoiled and lonely, or is this just lazy stereotyping? We meet Wang Chong, who's directing Little Emperors; a play written by Australian playwright Lachlan Philpott about how one family has been affected by the One Child policy. It's now playing at the Malthouse Theatre in Melbourne. We're also joined by Lisa Cameron, a behavioural economist from Monash University, who has tested how altruistic, risk loving and neurotic the little emperors are, and come up with surprising findings that suggest the One Child policy could be one factor driving China's lonely hearts to crime.See omnystudio.com/listener for privacy information.