Podcast appearances and mentions of maude davey

Contributing to the rise of women's theatre in the late 80's and building Australia's Burlesque scene in the 00's, Maude Davey always ensured the voices of Women, Trans, Gender-Diverse and Queer Artists were prioritised in the theatre. This episode spans Melbourne's Docklands parties, Miss Wicked Competition, the emergence of Burlesque, sexual fantasies and mentoring young artists. It showcases Davey's impact and status as a Queer theatrical Shero.Queering the Collection is created by Tristan Meecham.Editing and audio production by Jess Fairfax.Presented by Arts Centre Melbourne, in association with the Australian Performing Arts Collection and The Australian Queer Archives.Special thanks to Ian Jackson, Ange Bailey and Nick Henderson for their curatorial work.Portrait of Maude Davey by Mia Mala McDonald. Hosted on Acast. See acast.com/privacy for more information.

Ivo van Hove is renowned as one of the most innovative — and divisive — theatre directors working today. The Belgian's enthralling stage adaptations of classic works consistently subvert expectations. Now, van Hove's adaptation of the confronting novel A Little Life is coming to the Adelaide Festival.Also, a married lesbian couple with two children face divorce in Blessed Union, a new comedy at Belvoir, and Agatha Christie's The Mousetrap, the longest-running play on London's West End, is touring Australia. But is it a paragon of modern theatre or a tourist trap?

Ivo van Hove is renowned as one of the most innovative — and divisive — theatre directors working today. The Belgian's enthralling stage adaptations of classic works consistently subvert expectations. Now, van Hove's adaptation of the confronting novel A Little Life is coming to the Adelaide Festival. Also, a married lesbian couple with two children face divorce in Blessed Union, a new comedy at Belvoir, and Agatha Christie's The Mousetrap, the longest-running play on London's West End, is touring Australia. But is it a paragon of modern theatre or a tourist trap?

As part of WorldPride 2023, Sydney's Belvoir Street Theatre is presenting a brand new play billed as the Lesbian Divorce Comedy you didn't know you needed.. Blessed Union stars Danielle Cormack and Maude Davey as Ruth and Judith who have decided to seperate after a lifetime together. Fortunately for this podcast, there is no animosity and Maude and Danielle are perfect quiz partners.Get your tickets to Blessed Union here:https://belvoir.com.au/productions/blessed-union/Support this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

We celebrate Sydney WorldPride with cabaret performer and drag artist Reuben Kaye. In his breathlessly entertaining shows, Kaye shares his family's extraordinary story of survival and how the arts carried him through trauma — all while singing up a storm.Also, the Hayes Theatre Co revive Gentleman Prefer Blondes — but how is it a queer story? And we consider the evolution of queer performance through the years. In an era of increasing recognition of LGBTQIA+ rights, how does queer storytelling maintain its vitality?

We celebrate Sydney WorldPride with cabaret performer and drag artist Reuben Kaye. In his breathlessly entertaining shows, Kaye shares his family's extraordinary story of survival and how the arts carried him through trauma — all while singing up a storm. Also, the Hayes Theatre Co revive Gentleman Prefer Blondes — but how is it a queer story? And we consider the evolution of queer performance through the years. In an era of increasing recognition of LGBTQIA+ rights, how does queer storytelling maintain its vitality?

Blessed Union follows a powerful lesbian couple as they juggle jobs, kids, housework, marriage, and their commitment to the community, paving the way in representation for lesbian family stories.Maeve's Queerstories is also taking the stage as part of World Pride at Riverside's National Theatre of Parramatta, with the national project now seven years in and more than 300 stories on the podcast. https://tinyurl.com/5h6nf7b3Support the showCheck out more content on www.lotl.com

Live on stage at Melbourne's iconic La Mama Theatre, newly rebuilt following a devastating fire, we look at the history of independent Australian theatre and its impact on our culture, and we discuss the path ahead for small theatres in the wake of the pandemic.

Live on stage at Melbourne's iconic La Mama Theatre, newly rebuilt following a devastating fire, we look at the history of independent Australian theatre and its impact on our culture, and we discuss the path ahead for small theatres in the wake of the pandemic.

Live on stage at Melbourne's iconic La Mama Theatre, newly rebuilt following a devastating fire, we look at the history of independent Australian theatre and its impact on our culture, and we discuss the path ahead for small theatres in the wake of the pandemic.

Interviews with Ruth Katerelos and Dr Noah Riseman.  Ruth Katerelos chats about Goddesses of Jazz, a Midsumma cabaret show she will perform with Maude Davey on May 2nd.   Midsumma Festival - Goddesses of Jazz @ Chapel off Chapel  Dr Noah Riseman chats about Pride in Defence, a book he co-authored with Shirleene Robinson about the history of LGBTI people in Australia's Defence Force. He also discusses transgender history in Australia.  Pride in Defence, Noah Riseman, Shirleene Robinson — Melbourne University Publishing (mup.com.au)  QLife 1800 184 527  3CR broadcasts from the stolen lands of the Kulin Nation.  Sovereignty was never ceded.

Episode 12 – Thomas Fonua – Haus Of Kong & Chosen Family Thomas Fonua is a formidable teddy bear. A professional dancer from the age of 16 with an Economics Degree & a Masters in Leadership and proud Mumma at The Haus of Kong.   Thomas Fonua an artist of Pacific decent with an established career as a dancer, choreographer and emerging leader. Thomas has worked for companies such as Black Grace (NZ) , Australian Dance Theatre, Red Sky Performance(Canada) and has been touring internationally from the age of 16. Thomas' alterego Kween Kong, is the Reigning Dragnation Australia Winner. With a strong focus to inspire, challenge and nurture our community with his loved based leadership style. Thomas is the recipient of The (NZ) Prime Minster's Award for Arts and Creativity(2015), Out For Australia's Emerging Leader(2019) and has recently been nominated for the Dora Award For Outstanding Choreography in Canada. Kween kong https://www.instagram.com/kweenkongofficial/ Haus of Kong https://www.facebook.com/hausofkong The House with Peta-Anne Louth https://www.facebook.com/dasafehouse The House Podcast with Peta-Anne Louth https://www.buzzsprout.com/904999         SHOW NOTES Australain Dance Theatre https://adt.org.au/ Fa'afafine https://en.wikipedia.org/wiki/Fa%27afafine Black Lives Matter https://blacklivesmatter.com/ Microaggression https://en.wikipedia.org/wiki/Microaggression Ball Room Culture https://en.wikipedia.org/wiki/Ball_culture Voguing https://en.wikipedia.org/wiki/Vogue_(dance) Talking Chief ( ‘orator' Chief known as Tulafale ) https://en.wikipedia.org/wiki/Fa%CA%BBamatai Chosen Family https://fairygodboss.com/career-topics/chosen-family Jehovah's Witnesses https://en.wikipedia.org/wiki/Jehovah%27s_Witnesses Stonewall Riots https://en.wikipedia.org/wiki/Stonewall_riots Karangahape Road (commonly known as K' Road) https://en.wikipedia.org/wiki/Karangahape_Road Black Grace Dance Company https://blackgrace.co.nz/ The Adventures of Priscilla, Queen of the Desert https://en.wikipedia.org/wiki/The_Adventures_of_Priscilla,_Queen_of_the_Desert Gender transitioning https://en.wikipedia.org/wiki/Gender_transitioning#:~:text=Gender%20transitioning%20is%20the%20process,be%20non%2Dbinary%20or%20genderqueer. Thomas Fonua – Full Biography Born and raised in New Zealand, Thomas is of Indigenous Samoan/Tongan descent. He started dancing at the age of seven and at 16 was offered a two-year apprenticeship with Black Grace Dance Company. This led to a full-time position, completing his formal training and later performing as a leading part of the ensemble touring numerous works through Europe, Asia, North America and Canada. In 2010, he was invited to The Banff Centre to take part as a dancer in the Indigenous Dance Residency. He was then invited back and given the opportunity to be a part of a pilot program designed for dancers with high leadership and choreographic ability called the ‘Merit Dancer Program'. Following the success of the program Thomas became a faculty member, assisting in mentoring, choreographing and dancing with professional dancers of Indigenous heritage from all over the world. Thomas has choreographed work for The Indigenous Dance Residencies productions Backbone and TRACE, The Banff Centre's Midsummer Gala and Red Sky Performance's inSIGNia. Thomas has worked for Red Sky Performance in Canada on productions Migration (2011) and inSIGNia (2013) and has been touring internationally since the age of 16. In 2014, Thomas joined Australian Dance Theatre (ADT) as a guest artist for the Indonesian tour of Be Your Self. Soon after, he joined the professional ensemble where he made his Adelaide debut in the return season of Proximity. In 2015, he performed in the Australian national tour of Be Your Self. He also founded the ‘Ia Manuia' initiative, focussing on the slogan – ‘Pay. It. Forward.' with the vision to give back to his Pacific community and create opportunities for young members. His work, MALAGA, was performed at the Q Theatre in Auckland, New Zealand as part of the TEMPO Dance Festival. Conceived, choreographed and directed by Thomas, the work features himself and the dancers of ADT. In 2016, Thomas performed in the world premiere season of Habitus at the Adelaide Festival as well as part one of The Beginning of Nature at WOMADelaide. Later that year, he performed in the Australian premiere season of Objekt and was a featured choreographer and dancer in ADT's return season of Ignition, where he presented an excerpt from MALAGA titled The Village. Following the season, he was nominated for the Critics Circle award for Best Emerging Artist in Choreography. In 2017, Thomas performed in Garry Stewart's Doppelganger, a piece featured as part of the exhibition at the Art Gallery of South Australia – Versus Rodin: bodies across space and time, followed by the Melbourne premiere season of Be Your Self and the Australian national tour of Be Your Self Redux. Later that year he performed in the premiere season of The Beginning of Nature in Colombia, South America. In 2018, Thomas performed in the Australian national tour of The Beginning of Nature and international tour throughout Germany, The Netherlands and Belgium. In 2019, Thomas performed The Beginning of Nature at the prestigious Joyce Theater in New York. Following the season, he took part in the development of a new work by Garry Stewart, Supernature as part of the Pillow Lab program in Jacob's Pillow, Massachusetts. Outside of ADT, Thomas competed and won DragNational Australia under his alter ego, Kween Kong. He also established the ‘Haus Of Kong', a small business designed to create windows of opportunities for the SA LGBTQIA+ communities. Kween Kong also made some very special appearances as part of the Adelaide Cabaret Festival, performing alongside Maggie Beer and Julia Zamero in The Liner Notes live show, The Blues Brothers. Kween Kong also made a guest appearance with Maude Davey in My Life In The Nude and performed with Hans (Matt Gilbertson) as part of The House Of Hans. He was also announced the Out For Australia's 30 under 30 leadership award, which recognises young leaders across the country who are demonstrating strong leadership capacity in their selected fields. Recently Thomas received support from the Scratch Festival at Griffin Theatre in Sydney to start development on his new work FAFA, a duo, physical-theatre work the examines gender in pacific culture and dissects patriarchy, gender roles and the ideology of the ‘two-spirited' people in world indigenous mythology

After a sell-out, world premiere performance at the 2019 Midsumma Festival, cabaret icons Mama Alto, Maude Davey and Nevo Zisin, among others, return to the stage with the next iteration of Gender Euphoria, to be […] http://media.rawvoice.com/joy_tomandmikey/p/joy.org.au/tomandmikey/wp-content/uploads/sites/429/2019/10/2019-10-10-TomAndMikey-GenderEuphoria.mp3 Podcast: Play in new window | Download (Duration: 8:16 — 3.8MB) Subscribe or Follow Us: Apple Podcasts | Android | Spotify | RSS The post Gender Euphoria – Maude Davey, Mama Alto & Nevo Zisin appeared first on Tom & Mikey.

Acclaimed Australian playwright Patricia Cornelius has been awarded the Windham-Campbell Prize for drama, US playwright Clare Barron's Dance Nation follows a group of teens in the throes of adolescence finding their place in a hyper-sexualised and competitive world of dance, and we speak with playwright and performer Nakkiah Lui about her new satirical play at the Sydney Theatre Company — How to Rule the World.

Maude Davey and Harvey Zielinski joined Pete, Dylan and Judy to chat about their Midsumma smash hit “Gender Euphoria” The demand for this show saw tickets sell-out before Christmas. The chat gave us an insight […] http://media.rawvoice.com/joy_saturdaysessions/p/joy.org.au/saturdaysessions/wp-content/uploads/sites/365/2019/01/Maude-Davey-and-Harvey-Zielinski.mp3 Podcast: Play in new window | Download (Duration: 9:47 — 13.4MB) Subscribe or Follow Us: Apple Podcasts | Android | Google Podcasts | Spotify | RSS The post Midsumma – Maude Davey and Harvey Zielinski “Gender Euphoria” appeared first on Saturday Sessions.

How can we be open and honest and take risks, but still feel safe?Tai and Maude talk about making work about women and what exactly does it mean to take risks in front of an audience? They share the frustration of finding it easier to write about other people's work than their own and how to deal with failure. They ask the hard question; ‘What happens as you get older and your body can't perform in the same way anymore?'Music: 'End of the Day' by Phia www.listentophia.comAudio production: Bec FaryThis episode is from Season 1, which was originally called A World of Her Own. It was part of the exhibition Unfinished Business: Perspectives on art and feminism at ACCA. Thanks to ACCA for all their support.More episodes and information at www.taisnaith.com

JOY 94.9 has installed a revolving door for all the killer guests lined up to talk to Australia’s best all-female drive show, and this week D&M spoke with Leeanna Walsman and Maude Davey about their […] http://media.rawvoice.com/joy_danoandmason/p/joy.org.au/danoandmason/wp-content/uploads/sites/329/2018/07/melon.mp3 Podcast: Play in new window | Download (Duration: 9:32 — 8.7MB) The post Melancholia appeared first on Dano and Mason.

Acclaimed Aussie performer, actor, director and writer Maude Davey joined us in studio to chat all about her wild new show Brave World (ENDING SOON) and her work being a part of the Retro Futurismus. “A […] http://media.rawvoice.com/joy_danoandmason/p/joy.org.au/danoandmason/wp-content/uploads/sites/329/2018/07/MAD.mp3 Podcast: Play in new window | Download (Duration: 11:25 — 10.4MB) The post Brick Bikini’s and Milk Titties appeared first on Dano and Mason.

Making Art – Episode 03 Maude Davey & David Pidd Episode Released 10th June 2018 I would like to confess to a number of guilty pleasures. At the moment I’m enjoying chocolate coated digestive biscuits dunked in milk. So delicious. And good for you. I am also happy to come out as a closet Formula […]

Her Life in The Nude: A conversation with performer and director Maude Davey How can we be open and honest and take risks, but still feel safe? Tai and Maude talk about making work about women and what exactly does it mean to take risks in front of an audience? They share the frustration of finding it easier to write about other people’s work than their own and how to deal with failure. They ask the hard question; ‘What happens as you get older and your body can’t perform in the same way anymore?’

There will be some mildly sexual language and content throughout this review. If that might be a problem for you, tune out for the next five minutes or so - but, you'll be missing the breakdown of a great show. A live band of sorts, and performance goes with the music Duets is a show that will probably take you out of your theatre-comfort zone, unless you usually attend shows that include women performing suggestive acts with a banana and a tomato, or men in sequined morph suits gyrating to music, wearing enormous strap on dildo's. It is the second in a series of productions by performance troupe The Stain. Jo Franklin, in an interview with La Mama, suggested that the Stain's full title and job description should be 'performance art live music ensemble'. Duets is directed by Maude Davey, and the brainchild of the Stain core group Francesca Sculli, Jo Franklin and Gen Berstein. They are accompanied in the show by Harpist Genevive Fry, performance artists Sarah Ward, The Huxley' and Paula Russel. This is complimented with a haunting soundscape from Nat Grant, lighting design by Simon Coleman and set construction and props by Herbz. The bio for the performance reads that it is set in 'an underground world marred by the spoils of life'. The set reminded me of the party Neo attends in the first Matrix movie, as he follows the figurative white rabbit. Dark, smoky, sweaty, and indeed, this world the Stain are about to take us into with Duet's is very alike to falling into a bizarre wonderland. Plastic sheets, the kind Bateman lines his apartment with in the famous American Pyscho murder scene, canvas the walls of the small theatre. The chairs for the audience are essentially a part of the stage. The drum kit and mics are so close to the front row that there is a very vague distinction between audience member and performer, especially when the performers make a point of roaming behind and into the audience at times, demanding your attention. There is a fantastic light show, and the dancing lasers scramble your conception of any stability or normality in the universe of the show. Francesca and Joe, the key performers and singers, do not merely sing, standing still behind a mike, but gyrate, stare, gesture. There is a comedy to their performance, but also a deep seriousness, and the atmosphere is thick with an almost undetectable tension - I found myself deeply immersed in their world, the world of the steamy club party and exploration of sexuality, interrogating aspects of it constantly. It is very clear that you are being taken out of your world and plonked down into a place which remembers and mimics things that are present in our own - love, sex, television, pop music, dance - but is not really them, rather, it is a place that subverts them, makes them ugly, beautiful, sad, silly, elegant or deranged, most obvious in their many adaptations of popular songs, warping and moulding music from artists such as Gotye and Rihanna. It is over the top, confronting, but given that life can so frequently be overwhelming and bizarre in all its aspects, I believe Duets captures and champions this fact. The show bears watching a second time - I do not think I gleaned too much of their message from the first viewing, perhaps so overwhelmed and engaged with the theatre of it all, and the sheer fun of listening to good, interesting live music. What I do know is that Duets is trying, both lightly and desperately, to examine the intensity of a human connection. And, while I believe they examine this most overtly through a sexual connection, this I can believe is also highly symbolic of other modes of desire, and the accompanying human flaws and compromises that can ruin any fantasy. The element that moved me the most was Paula Russel's dancing. She dressed in a white flowing garment, and danced wildly around with a silly glint in her eye, beckoning us through the door and to our seats for the evening. She served as a kind of glorified roadie, changing over instruments and clearing the stage in a hyper energetic, twirling fury. In the dying moments of the play, she appeared on stage, after all the other performers and musicians had vacated it. I only expected her to do something silly, light, comedic, to see us off for the evening. I was so presently surprised when she presented us with a full ten minute, highly choreographed dance, that was elegant, fractured, quietly sad but also defiantly optimistic It's importance was accentuated given her capacity in the performance leading up to this point had been secondary, a relief character of sorts - a character that had been there from before we had even sat down, a person we had taken for granted and assumed to be unimportant. It was wonderful to have these expectations subverted, in that she proved to be one of the most compelling aspects of the performance, in my mind. Catch Duet's at La Mama theatre, where it is showign until the 14th of August. Bookings and more info at lamama.com.au. Written by Jim ThomasSee omnystudio.com/listener for privacy information.

There will be some mildly sexual language and content throughout this review. If that might be a problem for you, tune out for the next five minutes or so - but, you'll be missing the breakdown of a great show. A live band of sorts, and performance goes with the music Duets is a show that will probably take you out of your theatre-comfort zone, unless you usually attend shows that include women performing suggestive acts with a banana and a tomato, or men in sequined morph suits gyrating to music, wearing enormous strap on dildo's. It is the second in a series of productions by performance troupe The Stain. Jo Franklin, in an interview with La Mama, suggested that the Stain's full title and job description should be 'performance art live music ensemble'. Duets is directed by Maude Davey, and the brainchild of the Stain core group Francesca Sculli, Jo Franklin and Gen Berstein. They are accompanied in the show by Harpist Genevive Fry, performance artists Sarah Ward, The Huxley' and Paula Russel. This is complimented with a haunting soundscape from Nat Grant, lighting design by Simon Coleman and set construction and props by Herbz. The bio for the performance reads that it is set in 'an underground world marred by the spoils of life'. The set reminded me of the party Neo attends in the first Matrix movie, as he follows the figurative white rabbit. Dark, smoky, sweaty, and indeed, this world the Stain are about to take us into with Duet's is very alike to falling into a bizarre wonderland. Plastic sheets, the kind Bateman lines his apartment with in the famous American Pyscho  murder scene, canvas the walls of the small theatre. The chairs for the audience are essentially a part of the stage. The drum kit and mics are so close to the front row that there is a very vague distinction between audience member and performer, especially when the performers make a point of roaming behind and into the audience at times, demanding your attention. There is a fantastic light show, and the dancing lasers scramble your conception of any stability or normality in the universe of the show. Francesca and Joe, the key performers and singers, do not merely sing, standing still behind a mike, but gyrate, stare, gesture. There is a comedy to their performance, but also a deep seriousness, and the atmosphere is thick with an almost undetectable tension - I found myself deeply immersed in their world, the world of the steamy club party and exploration of sexuality, interrogating aspects of it constantly. It is very clear that you are being taken out of your world and plonked down into a place which remembers and mimics things that are present in our own - love, sex, television, pop music, dance - but is not really them, rather, it is a place that subverts them, makes them ugly, beautiful, sad, silly, elegant or deranged, most obvious in their many adaptations of popular songs, warping and moulding music from artists such as Gotye and Rihanna.  It is over the top, confronting, but given that life can so frequently be overwhelming and bizarre in all its aspects, I believe Duets captures and champions this fact. The show bears watching a second time - I do not think I gleaned too much of their message from the first viewing, perhaps so overwhelmed and engaged with the theatre of it all, and the sheer fun of listening to good, interesting live music. What I do know is that Duets is trying, both lightly and desperately, to examine the intensity of a human connection. And, while I believe they examine this most overtly through a sexual connection, this I can believe is also highly symbolic of other modes of desire, and the accompanying human flaws and compromises that can ruin any fantasy. The element that moved me the most was Paula Russel's dancing. She dressed in a white flowing garment, and danced wildly around with a silly glint in her eye, beckoning us through the door and to our seats for the evening. She served as a kind of glorified roadie, changing over instruments and clearing the stage in a hyper energetic, twirling fury. In the dying moments of the play, she appeared on stage, after all the other performers and musicians had vacated it. I only expected her to do something silly, light, comedic, to see us off for the evening. I was so presently surprised when she presented us with a full ten minute, highly choreographed dance, that was elegant, fractured, quietly sad but also defiantly optimistic It's importance was accentuated given her capacity in the performance leading up to this point had been secondary, a relief character of sorts - a character that had been there from before we had even sat down, a person we had taken for granted and assumed to be unimportant. It was wonderful to have these expectations subverted, in that she proved to be one of the most compelling aspects of the performance, in my mind. Catch Duet's at La Mama theatre, where it is showign until the 14th of August. Bookings and more info at lamama.com.au. Written by Jim Thomas

Retro Futurismus is a sci-fi cabert, created by Anni and Maude Davey along with Anna Lumb, Gabi Barton and Teresa Blake, with new special guest stars performing every week. Retro Futurismus as been shown all over Australia to much acclaim and is now performing a new season at 45 Downstairs this month. Retro Futurismus transformed 45 down stairs into a feminie sci-fi wonderland. It was a beautiful, welcoming atmosphere, I was greeted by one of the performers and directed to a great seat where I waited and listened to a fabulous soundtrack of songs before the show begun. Retro Futurismus was a series of sort performances, ranging for dance, circus, and song to avant-garde visual acts, which explored the performers own experience of womanhood. During the interval we were entertained very sweetly by puppetry, which later in the show was revived and was so beautiful people in the audience began to cry. It was wonderfully self-aware and at times meta, and also very extravagant and glamorous. It was defiant and strong and tender and sweet. It gave me a beautiful mix of emotions, it was vulnerable while also being playful and fierce was intensely powerful and empowering. Retro Futurismus is showing Wednesday-Sunday at 45 Downstairs until the 31st of July Written by Ebony BeatonSee omnystudio.com/listener for privacy information.

Retro Futurismus is a sci-fi cabert, created by Anni and Maude Davey along with Anna Lumb, Gabi Barton and Teresa Blake, with new special guest stars performing every week. Retro Futurismus as been shown all over Australia to much acclaim and is now performing a new season at 45 Downstairs this month. Retro Futurismus transformed 45 down stairs into a feminie sci-fi wonderland. It was a beautiful, welcoming atmosphere, I was greeted by one of the performers and directed to a great seat where I waited and listened to a fabulous soundtrack of songs before the show begun. Retro Futurismus was a series of sort performances, ranging for dance, circus, and song to avant-garde visual acts, which explored the performers own experience of womanhood. During the interval we were entertained very sweetly by puppetry, which later in the show was revived and was so beautiful people in the audience began to cry. It was wonderfully self-aware and at times meta, and also very extravagant and glamorous. It was defiant and strong and tender and sweet. It gave me a beautiful mix of emotions, it was vulnerable while also being playful and fierce was intensely powerful and empowering. Retro Futurismus is showing Wednesday-Sunday at 45 Downstairs until the 31st of July Written by Ebony Beaton

Interviews, news and reviews ranging across the arts. Today's show features Artistic Director of Brisbane Festival David Berthold. Richard speaks with Annie and Maude Davey about their new show 'Retro Futurismus: New World' at Fortyfivedownstairs, and Senior Curator, Tim Fisher stops by to discuss The Arts Centre Melbourne exhibition 'Stage Presence - Design from the Australian Performing Arts Collection'