Podcast appearances and mentions of Robyn Archer

There are episodes of The Adelaide Show, and then there are events. This is one of the latter. Recorded live at the Mercury Cinema as part of South Australia’s History Festival 2026, History Hit Parade brings together broadcaster and journalist Keith Conlon and host Steve Davis for a ninety-minute show that weaves original songwriting with storytelling, historical context, and the kind of warm, unhurried conversation that feels like sitting in a room full of people who actually know where you live. Ten songs. Ten slices of South Australian life. All of them written with pen and paper by Steve, given musical life through his AI-assisted “virtual session band,” and offered here as what he describes as “audition pieces” for real musicians who might one day make them their own. There is no SA Drink of the Week in this episode. The entire show is the Musical Pilgrimage. Rather than a single track appended at the end, this episode is the songs, each one set up by Keith’s historical grounding and Steve’s personal connections before the music rolls. Full notes on each song appear in the segment breakdown below. You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concisepage. Running Sheet: History Hit Parade 00:00:00 Intro Introduction 00:00:00 SA Drink Of The Week There is no SA Drink Of The Week this week. 00:04:07 History Hit Parade The Mercury Cinema is not a neutral venue for Steve Davis. He was married there on a sweltering 42-degree December day in 2002. He launched Talked About Marketing there. And it is where, on two days in May 2026, he and Keith Conlon performed History Hit Parade to an audience that included Steve’s parents, his former drama teacher, the chair of the History Trust, and the real-life couple immortalised in one of the songs. The name History Hit Parade, Steve reveals, was Keith’s idea, drawn from his memory of the Harold Wright Hit Parade on 5AD, a Thursday-night ritual of about eight or ten songs in an era before the Top 40 existed. Buddy Holly, Elvis, Perry Como, and Pat Boone: that was your week’s music. The name lands perfectly for a show that does something similar, except every track is an original, and every track is South Australian. Song 1: Jack and Lil (Up Please, Going Up)Keith sets the historical scene: John Martins began as Peters and Martin, a drapery store in Rundle Street, until Mr Martin was released from his duties due to what Keith delicately describes as “debauchery.” The Hayward family eventually took the helm, and it was Sir Edward Hayward who, in 1933, looked to Canada for inspiration and brought the Christmas Pageant to Adelaide. He was so nervous before the first one that he hired a biplane, circled the inner suburbs with a megaphone, and personally invited people to come. They did. About 300,000 still do, each year.The personal thread in this song belongs to Steve’s maternal grandparents, Jack and Lil, whose photograph appeared on the screen behind him. Lil worked in the kitchenware department. Jack was the young engineer installing the new lifts in the building during the 1930s. The rest, as Steve says, is history. The song follows their life together as their family grows, moving floor by floor through what John Martins offered, with the lift ladies’ announcement, “Up please, going up,” as its guiding refrain. Steve thanks Paul Flavell, who has written a book on John Martins, and former John Martin’s planner, Robert Tedstone, who provided a complete floor-by-floor inventory to keep the lyrics accurate. Song 2: Oh MarionMarion, the suburb, was surveyed in 1838 by Colonel Light’s private firm after Light had broken with Governor Hindmarsh. The name comes from Marianne, daughter of resident commissioner James Hurtle Fisher, though somewhere along the way Mariannen became Marion. Keith’s own connection is fond: his father learned to drive in the 1950s by heading south into the almond groves and vineyards of Marion, where the long straight roads offered room to practise.Steve’s Marion is the 1970s version: aerial photographs, numbered landmarks, railway tracks where he’d flatten 20-cent pieces, overpass pile drivers thumping for weeks, and a Coles New World at the Park Holme Shopping Centre. He walked to school at age six, “with my little satchel and my shorts.” One afternoon he left school early, got lost, and found his way to a doctor’s surgery he recognised. They rang his mother. She wasn’t home. The neighbour came to collect him and made him a sandwich. “That was life in Marion back then,” he says, with a fondness that carries no nostalgia for the vineyards his own family’s house helped displace. Song 3: My Jolly ValentineThis one starts with the Torrens. Keith explains that before the lake arrived, the river in summer was “a series of rather smelly waterholes” until Mayor Sir Edwin Smith, a beer baron with civic ambitions, created the weir. Within a year of the lake’s arrival in 1882, a rowing craze had taken hold, boat sheds lined the banks, and Jolley’s Boathouse was selling milkshakes and pies to rowers who could rent a boat by the hour.The Palais de Danse gets its moment: a floating ballroom on a barge moored near the Elder Park Rotunda from 1924, with a soda fountain, no grog, and 800 people on opening night. It was gone by 1928, Keith noting, “maybe it was just not well made and sank slowly into the mud.”Steve’s research for this Valentine’s Day song turned up two details that captured his imagination. First, the Rundle Street Parade: on Saturday nights, young men would walk down one side of the street, young women down the other, window-shopping for company rather than goods. Second, the postage stamp code used in the twice-daily mail service to communicate what couldn’t be written openly: upside-down meant “I love you,” tilted right meant yes, left meant no, sideways meant “let’s stay as friends,” which Steve notes is “a soft no.” Song 4: Spring Gully RoadKeith traces the geography first: up Third Creek from the Torrens, past the village of Magill, pointing toward Norton Summit. Market gardens that ran through to Tea Tree Gully. One of Steve’s friends, Dominic, remembers his father loading a ute with cucumbers twice a week and driving them across town to Spring Gully. That was not long ago.The song covers four generations families. Edward McKee began pickling onions after returning from the war. His son-in-law Alan McMillan, stepson Eric Webb, and friend Malcolm Climer formed the second generation. Kevin and Ross Webb steered it through 2013 when a public campaign saved the company. Russell and Tegan Webb were at the helm when cheap imports and cost-of-living pressures finally made it too hard.Steve played the song to Russell Webb before the performance. Russell’s response: “Our whole family thinks this song should be in the state archives for covering the story so well.” Steve says it with quiet pride, and then lets the song make the case. Song 5: Away, Away (The PS Canally Crew Song)Keith tells the founding story of the Murray River trade with the energy of someone who could spend a full hour on it. Governor Sir Henry Fox Young puts up a prize in 1853 for the first boat to take a paddle steamer from Goolwa to Swan Hill and back. Two men are unknowingly racing: Captain William Randell, a flour miller from Gumeracha building the Mary Ann upstream from Mannum, and Captain Francis Cadell, who has a paddle steamer built in New South Wales and sails it through the Murray mouth. They end up racing each other, neither knowing the other was coming. Both get their prize, and instantly the river is transformed: wool that was a month away from market by bullock wagon is now days away by water.Steve wrote this song aboard the PS Marion, on a three-day cruise, watching jet skis cut through the peace of the river and thinking about the crews who worked these boats without rest. He noted he’d been “a bit passionate” about the contrast. One thing he is proud of: annoying the captain by asking about terminology, which is how he discovered that “larboard” was the original term for port side, changed because “larboard” and “starboard” were too easily confused when shouted across a noisy deck. Song 6: Shout Your Mates Another RoundThis song grew from a drive past the West End Brewery site on Port Road, now demolished. The chimney is gone. Steve felt its absence.Keith sketches the arc: South Australia once had around 43 breweries. The West End Brewery operated from 1859 through to about 1980, and somewhere in there a Westies supporter working at the brewery persuaded the boss to paint the chimney in the SANFL grand final colours each year. Port Adelaide’s coach Fos Williams asked to be included. The tradition held, moved to a second chimney after the first came down, and now continues on the old brickworks chimney with the help of some “fancy technology.”The pickaxe long-neck bottle gets its own verse. Those amber glass communal bottles that sat on dinner tables, shared rather than individual. Steve remembers the day his Italian neighbour Nino offered him a sip of Southwark Bitter from one: “It put me off beer for the rest of my life.” He recalls his paternal grandfather worked at the original Hindley Street brewery. A bottle recently turned up on Kangaroo Island. These things accumulate meaning. Song 7: Tunarama Love SongGreg and Nicole, Steve’s brother-in-law and sister-in-law, are in the audience. They wave when introduced. Greg is described as “so bashful.”Keith gives the historical context: Captain Matthew Flinders named Memory Cove after losing eight sailors there when he was 28 years old, 10,000 miles from home. He named Cape Catastrophe, Thistle Island, and Boston Island after those men. Port Lincoln was named, Keith theorises, from homesickness for Lincolnshire. The tuna industry came after the war, when scientists found massive schools in the Bight. Colin Thiele wrote Bluefin there as a high school teacher, which became a film. Tunarama itself began in 1962.The song’s story is Greg’s: he left Adelaide on a bicycle heading west, eventually reached Port Lincoln, and through mutual friends met Nicole. They came back to Adelaide later that year and were at the Mercury Cinema for Steve and Nardia’s wedding. “Their love story didn’t actually happen at Tunarama,” Steve admits, “but my wife loves her rom-com movies, so I did a bit of rom-com where I just put it against the backdrop.” He also notes that Tunarama won Best Seafood Experience this year, and that “it is okay to call someone a tosser, at Tunarama.” Song 8: Good Night DonThis one has weight. Every episode of The Adelaide Show signs off with “Good night, Don,” so a song about Don Dunstan was, as Steve puts it, always going to happen. Keith, who lived through the Dunstan decade, tries to give it its due in a few minutes. Decriminalisation of homosexuality. Women’s rights reforms. Aboriginal land rights. The South Australian Film Corporation in 1972. The State Theatre Company in 1974. The Rundle Mall, celebrating its 50th anniversary later in 2026. The week of the performance happened to be the anniversary of the death of Dr George Duncan, thrown into the Torrens in 1972, a murder that accelerated the push for decriminalisation.Keith acknowledges the controversies too: the Salisbury Affair, the personal challenges, the pajama press conference, and, with particular relish, the day Don stood on the Pier Hotel balcony during the 1976 tidal wave scare and told the crowd that “the only thing that will happen today is that we will all get a bit hotter.”Steve wrote the song in Brechtian cabaret style, a nod to Don’s close friendship with Robyn Archer. The refrain draws on a George Bernard Shaw quote: “Your life was no brief candle, was a mighty torch that shone.” Steele Hall also gets a verse, recognised for his willingness to equalise the electoral boundaries even when it worked against his own party. Song 9: Cellar Door ShuffleKeith went to university with Malcolm Seppelt, “which was pretty helpful,” and takes us back to the first commercial vineyard up Jacob’s Creek, planted by Johann Gramp, one of the early German arrivals. The creek became the name of one of the most recognised wine labels in the world. The doctors follow: Penfold, Hamilton, Angove, Tolley. Keith notes that by the 1960s, 90% of South Australian grapes were going into fortifieds. Barossa Pearl and BenEan Moselle changed that. Keith asks the audience who had a sip of BenEan Moselle as a youngster. Most hands go up.The song is partly in honour of Joseph, who runs Ballycroft at Greenock. Steve describes him as “the sweet spot of wine tasting because it’s not stuffy with him.” The song delivers two reminders: if your cellar door is making you feel uncomfortable, leave; and you are not there to guzzle. Song 10: Ben Venuti (The Rostrevor Pizza Bar Song)The final song is an ode to Gaetano at Rostrevor Pizza Bar, who has stood behind the same counter for 35-plus years.Keith sets up the context with Don Dunstan’s liquor reforms: the end of the six o’clock swill, and the radical notion of drinking a glass of wine at a footpath cafe. Then the postwar wave of Italian migrants, and how pizza arrived in Adelaide. Keith’s first was in 1962 at a corner of Hindley and Morphett Streets, long since demolished. “In another ten years,” he predicts, “there’ll be Australians who reckon we actually made it.”Steve moved to Rostrevor in 2006 and spent his evenings stripping 1970s Italian wallpaper off the walls of his new house before heading around the corner to eat Gaetano’s pizza. Gaetano calls his dough “pastry,” starts making it the night before, and has won awards for it. He welcomes every regular by name. He personally refuses to put pineapple on a pizza, but if you want it, he will make it. “The Italians,” Steve says, “they understand the value of the money.” He goes through about a pallet of pineapple a month.The song is in Italian and close-to-Italian, with the chorus “Benvenuti, come inside” running through it. Steve says you will come along for the ride. ClosingSteve thanks the audience and invites them to stay in touch with Keith via This Day in South Australia on Facebook and LinkedIn, where Keith posts about South Australian history every day, and via the Wednesday morning bike rides from Bicycle Express in the city at 9am. He then plays the old State Bank ad, which Keith greets with “Oh, dear. Well, I wasn’t actually named at the time, but a lot of people said, ‘I reckon that’s Keith in there.'”Steve closes by noting that the album from the show, History Hit Parade, is available on Bandcamp. 00:00:00 Musical Pilgrimage No Musical Pilgrimage this week because the whole show was a Musical Pilgrimage.Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/See omnystudio.com/listener for privacy information.

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

Celebrated for her one-woman shows throughout the 70s, 80s and today, Robyn Archer is a Cabaret Icon. Her committed multi-discipline artistic practice has expanded across form and content, to communicate political and social messages to the widest possible audiences. From Brecht to Piaf, her varied work forms her identities; from Queer musical artist to the first woman to direct a major Australian state festival of the arts.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 Robyn Archer AM, 2024 by Mia Mala McDonald. Hosted on Acast. See acast.com/privacy for more information.

Robyn Archer AO FAHA is a singer, writer, artistic director and public advocate for the arts. Winner of the Helpmann Award for Best Cabaret Performer 2013 and named Cabaret Icon at the 2016 Adelaide Cabaret Festival, she currently performs highly acclaimed recitals of French (Que Reste-t'Il) , German (Dancing on the Volcano) and American (The Other Great American Songbook) song, wrote and directed The Sound of Falling Stars (2017/18) and released her album Classic Cabaret Rarities in 2019.  In July 2022 Robyn premiered Robyn Archer: an Australian Songbook with a two-week season for Queensland Theatre. Working with long term accordionist George Butrumlis, actor and guitarist Cameron Goodall and pianist Enio Pozzebon the show was an audience and critical success and will tour in 2023. Robyn is recognised internationally for her expertise in the repertoire of the Weimar Republic (Brecht and his musical collaborators and others from 1920s and 30s Germany) which she has been performing through Australia and worldwide since the 1970s, including at the National Theatre, London in 1977, in Hong Kong, Honolulu, and at the Brecht Festival in Augsburg.  Her many other stage successes include The Seven Deadly Sins which opened the Space in 1974, and one-woman shows A Star is Torn (through Australia and at Wyndham's in London's West End for a year) and Tonight Lola Blau both at the Adelaide Festival Centre. She has written and had produced, plays including Il Magnifico, Poor Joanna (with poet Judith Rodriguez), and Architektin; plays with music including Songs from Sideshow Alley, Café Fledermaus and The Bridge; and devised cabarets featuring her own songs and writing such as The Pack of Women, Scandals and Cut and Thrust.  Robyn has published numerous books from The Robyn Archer Songbook to Mrs Bottle's Burp and Detritus (a collection of her public speeches) as well as writing for the Griffith Review and the Australian Book Review. Among her many awards, including the ABR Laureate, the Dame Elisabeth Murdoch Cultural Leadership Award, the SA Premier's Lifetime Achievement Award, the International Society for Performing Arts' International Achievement Award and an ARIA Award for Best Soundtrack (The Pack of Women), the 2018 Adelaide Festival of Ideas Dedication recognised Robyn for her contribution to the world of ideas and public life. In the same year she also received the JC Williamson Centenary Lifetime Achievement Award. Robyn is an Officer of the Order of Australia, Chevalier de l'Ordre des Arts et des Lettres (France), Officer of the Crown (Belgium), Honorary Fellow of the Australian Academy of the Humanities and has Honorary Doctorates from the Universities of Sydney and Adelaide as well as Flinders, Canberra and Griffith Universities and the University of South Australia.  Robyn Archer - An Australian Songbook - commences a National Tour - kicking off in Melbourne tonight playing …. June 12th & 13th - Victorian Arts CentreAdelaide Cabaret Festival - June 17th and 18thCanberra - July 7th and 8th - Canberra Arts CentreDarwin - August 19th and 20th - Darwin Entertainment CentreSydney - October 18 to 29 - Belvoir TheatreHobart - November 3rd and 4th - Theatre RoyalA journey through Australian music that spans 150 years, from convict lament to Kate Miller Heidke and First Nations songwriters, Robyn explores the unique sound of our country with a repertoire full of passion, politics, landscape and laughter. 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

“Meu chefe é um chato provável. _My boss he's a probable bore._ Coloque minhas mãos e joelhos no chão lavável. _Put me hands and knees on scrubable floor._ Faça certo, receba a felicidade dos leões. _Do it right receive the lions share bliss._ Saiba muito bem exatamente onde está essa ração. _Know all too well just where that ration is._” Song of Supply And Demand - Bertold Brecht e Hanns Eisler cantada por Robyn Archer

Australian legend, industry pioneer and provocateur, Robyn Archer has delighted audiences around the world with her powerhouse shows. Robyn explores the music of her upbringing and the countless rhythms and voices that are woven into the unique sonic fabric of this country.

158. Robyn Archer on festivals, artistic risks & German cabaret.     Photo credit: Rohan Thomson

Sunday 14 February: The afterparty to the The Music Show's 30th birthday— we reflect on the big changes in music and culture over the past three decades with Robyn Archer, Richard Tognetti, Felix Cross and Jessica Aszodi.

A national treasure. An Australian icon. A performer, writer, director, public advocate for the arts.Known for her internationally acclaimed one woman shows, her artistic directorship of many national arts festivals, her cabaret performances, her plays, her speaking and writing about the arts around the world.She talks about herself as a singer....and her show Robyn Archer: A Songbook, is being performed around most states of Australia in 2021. Put it in your diary!#robynarcher #reallyinterestingwomen #australianicon #nationaltreasure #cabaret #adelaidefestival #melbourneinternationalartsfestival #LGBTQ #mardigras #astaristorn #brecht #kurtweill #thesevendeadlysins #threepennyopera #billieholiday #richardgraham #richardinstagraham

Remember the days when you could travel around making documentaries? In this retro Confessions we go to Paris. An Australian take on French Chanson music with Greg Appel. Just what you wanted to hear. Includes interviews with Jane Birkin, Mick Harvey, Robyn Archer and Philippe Combien

Can we suppose an object might have its own character, a life of its own? A purpose and function beyond decoration or ornament? In this 5th episode of The Art of Looking series, Olivia Meehan explores the biography of an object by listening to it!Resources and LinksBBC Sunday Feature: Cristiani and Her CelloClassic FM: Case Notes: the award-winning true crime podcast: The stolen Stradivarius Collection PiecesThe Metropolitan Museum of Art"The Gould" Violin, 1693; "The Antonius" Violin, 1711; "The Francesca" Violin, 1694Ashmolean Museum OxfordThe ‘Messiah' Violin, 1716The Grainger Museum, University of MelbourneRare Music CollectionMuseo del Violino, CremonaACO Australian Chamber OrchestraOur instruments: https://www.aco.com.au/the-orchestra/our-instrumentsACO Home to Home: Richard Tognetti and Satu VänskäJoin Artistic Director Richard Tognetti and Principal Violin Satu Vänskä for this special recital as they perform the music of JS Bach, Paganini and Leclair from their Manly home.https://www.youtube.com/watch?v=96xUS2BlBmIThe Musical ForestViolinmakers have been coming to the Latemar forest in South Tyrol since the time of Stradivarius. Violinmaker Paul Lijsen is once again searching the Latemar forest in South Tyrol's Eggental valley. How can they hear a violin just from a tree trunk? Join him as he searches for the perfect tree…https://www.youtube.com/watch?v=kGM_VsTwoMAWith thanks to Robyn Archer for the readings.Readings and quotes taken from:Faber, Toby. Stradivarius: Five Violins, One Cello and a Genius, Pan; Reprints edition, 2005.

In this 4th episode of The Art of Looking series, Olivia Meehan takes us to The Blue House Museum in Mexico. Listen to how she sees the Blue House, and enjoy an interspersed audio feast of Robyn Archer's reading from Frida: A Biography of Frida Kahlo. Resources and Links:Museo Frida Kahlo – The Blue Househttps://www.museofridakahlo.org.mx/en/the-blue-house/Virtual Tourhttps://www.museofridakahlo.org.mx/en/the-blue-house/multimedia/Frida Kahlo: Making Her Self UpA fresh perspective on Kahlo's compelling life story through her most intimate personal belongingshttps://www.vam.ac.uk/exhibitions/frida-kahlo-making-her-self-upGoethe: The Theory of Colourhttps://www.bbc.co.uk/programmes/w3cszjvcEDITORIAL FEATURE: The Hidden Meanings In Frida Kahlo's PaintingsExplore the wonderful details included in the artist's works with the help of Art Camerahttps://artsandculture.google.com/theme/the-hidden-meanings-in-frida-kahlo-s-paintings%C2%A0/MwISAVsIDncgLQ?hl=enReadings:Hayden Herrera, Frida: A Biography of Frida Kahlo, Perennial; Reprint edition, 2002,With thanks to Robyn Archer for the readings.

In this time of isolation, Olivia Meehan thought it might be interesting to consider the art of looking, the practice of seeing and describing, and in the case of podcasts, the serenity of just listening.In this 3rd episode of her series to explore the Museum From Home programs, she will be taking us to Musée du Louvre, and in particular, Le Printemps, painting by Théodore Rousseau. At the end of the episode is Robyn Archer's reading of Swann's Way, In Search of Lost Time, by Marcel Proust. Resources and notes:Musée du Louvrehttps://www.louvre.fr/en/homepageMusée du Louvre Online Tourshttps://www.louvre.fr/en/visites-en-ligneMona Lisa Focushttps://focus.louvre.fr/en/mona-lisaThe Barbizon School of paintershttps://www.oxfordbibliographies.com/view/document/obo-9780199920105/obo-9780199920105-0097.xmlReading:Marcel Proust, Swann's Way, In Search of Lost Time, Vol. 1 translated by Lydia Davis, London: Penguin Classics, 2004, pp. 438-439.With thanks to Robyn Archer for the reading.

In this time of isolation, Olivia Meehan thought it might be interesting to consider the art of looking, the practice of seeing and describing, and in the case of podcasts, the serenity of just listening.In this second episode of her series to explore the Museum From Home programs, she will be taking us to Nezu Museum in Tokyo. At the end of the episode, the audience will be hearing Robyn Archer's reading of In Praise of Shadows. Resources & Links: The Metropolitan Museum of Art New Yorkhttps://www.metmuseum.org/Rijksmuseum in Amsterdamhttps://www.rijksmuseum.nl/enBritish Museum Londonhttps://www.britishmuseum.org/V&A Londonhttps://www.vam.ac.uk/ NGV – National Gallery of Victoriahttps://www.ngv.vic.gov.au/Art Gallery of New South Waleshttps://www.artgallery.nsw.gov.au/National Library of Australiahttps://www.nla.gov.au/Nezu Museum Tokyohttp://www.nezu-muse.or.jp/en/index.htmlReadingJun'ichirō Tanizaki, In Praise of Shadows 陰翳礼讃, In'ei Raisan, translated by Thomas J. Harper and Edward G. Seidensticker, London: Vintage Books, 1977.With thanks to Robyn Archer for the reading.

In this time of isolation, Olivia Meehan thought it might be interesting to consider the art of looking, the practice of seeing and describing, and in the case of podcasts, the serenity of just listening.Hence in this special series, she will be exploring a few of the Museum From Home programs and guiding the audience to appreciate the selected collections around the world through the art of looking. Her language is beautiful, and description vivid, putting the audience right there among the artworks.At the end of each episode, the audience will also get to hear the reading of selected works by Robyn Archer.This first episode of the series presents Kettle's Yard house museum and gallery in Cambridge, England.Resources & Links of interestLook Up! The Art and Science of LookingThe Art of Slow Looking PodcastArts and Culture GoogleKettle's Yard Museum, Cambridge EnglandReCollection: Oral History ArchiveA Handful of Objects – explore five key objects from the Kettle's Yard collection through film, sound, images and 360-degree views.Work of ArtChristopher Wood, Boy with a Cat (Jean Bourgoint), 1926, oil and graphite on canvas, 1480 x 585 mmhttp://tour.kettlesyard.co.uk/e1-library/attachment/boy-cat/ ReadingA Room to Live In: A Kettle's Yard Anthology edited by Tamar Yoseloff, Cambridge: Salt Publishing, 2007, pp.52-53.First Reading: Meredith BowlesSecond Reading: A Bowl By Lucie Rie by Susan WatsonWith thanks to Robyn Archer for the reading.

Start your day the right way, with a stimulating discussion of the latest news headlines and hot button topics from The Advertiser and Sunday Mail. Today, hear from Robyn Archer (singer, writer, artistic director and public advocate for the arts), Helen Donovan (City of Adelaide Councillor), Roy Eccleston (SA Weekend Editor). ABOUT TODAY'S PANEL Robyn Archer Robyn Archer AO FAHA is a multi-award-winning singer, writer, artistic director and public advocate for the arts. She has performed in numerous Adelaide Festivals since 1976, including 2019's Picaresque, and was artistic director for 1998 and 2000. Robyn released her latest album Classic Cabaret Rarities in 2019, currently tours three recitals (French, German and American) and has a new show premiering in June 2020. She has been honoured by the French and Belgian governments and holds honorary doctorates from six Australian universities.   Helen Donovan Helen is a practicing behaviour change psychologist and is keen to see Council consider impacts on mental health and wellbeing in the community at every level of policy, including infrastructure design, green spaces, waste management and housing. She advocates for a sustainably responsible Council and, in particular, seeks to accelerate local action on sustainability, support for market stalls moving towards zero packagings, fossil fuel divestment, greening, organic waste collection and leadership in energy policy and waste management.  Roy Eccleston Roy has edited SA Weekend Magazine in The Advertiser since it inception in 2009. Under his leadership the magazine won a prestigious News Award in 2016, and its mix of probing features, irreverent columns, travel, food, film and fashion have made it essential reading for South Australians.   See omnystudio.com/listener for privacy information.

Robyn Archer is still singing, writing, and speaking about the state of the arts here in Australia and around the world.

Emily is an artist/activist and environmental educator. Her passion for the environment is clear in the ways in which she fiercely defends and calls attention to environmental issues. She runs workshops inspiring young people to connect with their potential to envision progress through creativity. https://www.nativecirclesart.ie/

Robyn Archer See acast.com/privacy for privacy and opt-out information.

Michael Berkeley's guest is Anne Sebba, the best-selling biographer of iconic women including Wallis Simpson, Winston Churchill's mother Jennie, Laura Ashley, and Mother Teresa. Her most recent book tells the stories of the women of Paris in the 1940s. She follows the lives of housewives, Resistance fighters, shop girls, prostitutes and celebrities, all the time examining the big, small - and often impossible - choices people have to make in wartime. And we hear part of an operetta composed by one of these women, imprisoned by the Nazis at Ravensbruck. Anne tells Michael about her controversial biography of Wallis Simpson in which she claims that we should have more understanding of her situation and more admiration for her as a person - and she argues that Wallis married Edward with great reluctance. We hear Artur Rubinstein playing Rachmaninov, which brings back memories for Anne of interviewing him when she was a young journalist, and she chooses music by Mendelssohn, Chopin, and Verdi. A passionate advocate for the celebration of women's lives and talents, Anne chooses performances by Robyn Archer, Maria Callas and Margaret Fingerhut. Producer: Jane Greenwood A Loftus production for BBC Radio 3.

Stream episodes on demand from www.bitesz.com (mobile friendly). The Sound Of Falling Stars From Hank Williams, through Elvis Presley, Sam Cooke, and Bobby Darin to Tim and Jeff Buckley, Nick Drake, Bon Scott, Kurt Cobain and more, this is a night of musical joy and monumental loss. Adelaide-trained actor/singer Cameron Goodall (ex the Audreys, Sydney Theatre Company, The Lion King) displays his amazing vocal versatility for the first time, as he magically inhabits the souls of these great singing stars who gave us so much, and died so young. Written and directed by Robyn Archer, starring Cameron Goodall with George Butrumlis and Enio Pozzebon. For more visit https://www.artscentremelbourne.com.au/en/whats-on/2018/theatre/the-sound-of-falling-stars Theatre First RSS feed: https://audioboom.com/channels/4839371.rss Subscribe, rate and review Theatre First at all good podcatcher apps, including Apple Podcasts (formerly iTunes), Stitcher, Pocket Casts, audioBoom, CastBox.fm, Podbean etc. If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you. #theatre #stage #reviews #Melbourne #Australia #artscentremelbourne Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

Meryl Tankard is a powerhouse of Australian dance. She learnt ballet the 1960s and 70s when training was grueling with the discipline expected of the teachers was close to torture. She remembers seeing a teacher pushing a little girl’s head in to a bucket of water until she was forced smiled. She compares dance discipline to that of the military – her father served in air force in the Second World War. Born in Darwin, she lived in Melbourne, Newcastle and Penang and her childhood has inspired many of her works, including Two Feet. Meryl’s professional dancing career started with The Australian Ballet in 1975, but her time in the world of ballet was short lived. In 1978 Meryl moved to Germany to work with Pina Bausch at Tanztheater Wuppertal . Meryl says she blew in from Australia “red lips, red nails”, it was the 70s after all, employed on a soloist contact to the surprise of many. Soon after, she was performing in one of Bausch’s most revered works Café Müller and became one of Pina Bausch’s most recognised dancers. Bausch described her style: “There was a tension between her fragility and her courage. Meryl had and understanding of measure, of boundaries; this instinct and experience gave her that edge.” When starting at the company, audiences didn’t understand Bausch’s style. “People were booing, we sometimes only had 30 people in the audiences”. Bausch “wanted everything” Meryl explains: “She was stubborn and very vague”. Meryl came back to Australia in 1984 because she was home sick and missed the sky. During the 1980s she started to make her mark on the Australian dance scene. In 1989, she took on a small company in Canberra and called it the Meryl Tankard Company. Her work was almost a hybrid between dance and theatre a style that divided audience and critics. They were truly incredible shows. In 1993, Meryl took on the artistic directorship of the Australian Dance Theatre (ADT), in Adelaide. Her period at the company helped to put Australian contemporary dance on the world stage. Robyn Archer has described this as an amazing time for Adelaide: “It was new and exciting, it was risky and it was courageous”. Meryl time at ADT was cut short with the board terminating her contract in 1999. The industry was in shock; how could the board be so short sighted when ADT was at the height of such phenomenal success. Where there elements of sexism involved? Meryl explains in regards to gender and dance: “We have this fake idea that dance is a very feminine art form, it is only because we see the women busting their guts on the stage.” Meryl continued choreographing and her worked ranged from the Sydney Olympic Opening Ceremony to Disney’s Tarzan. And her work The Oracle, set to Stravinsky’s “Rite of Spring”, with dancer Paul White was a triumph. Meryl re-defines the boundaries and is increasingly turning to film. Her film Michelle’s Story is a moving portrait of her friend Michelle Ryan, who was a dance for Meryl Tankard’s Australian Dance Theatre and was later diagnosed with MS. This was an interview where I was left constantly saying “wow”. Because WOW what an amazing creative woman. Meryl Tankard is truly incredible! This conversation covers includes managing boards, gender and dance; Pina Bausch; making dance for film; and so much else in between. It was recorded on Anzac Day in a quiet spot in the park (until all the children came to play around us). “People say to me, ‘are you still dancing’, and I go ‘well what is dancing? What does dancing mean, I go in to the studio and put music on?’ Maybe I dance when I play with my niece. […] we are sort of dancing every day aren’t we?” This is the last episode of season two. I am overwhelmed by the reception of this podcast with absolutely zero budget; there are thousands of people listening. Season three is already in production with three episodes already recorded. Stay tuned. If you want to help spread the word, please share these episodes with your networks. Thanks for listening.

We all know Melbourne is big on art. And you can’t miss the fact—it’s team-coloured beanies, flags and scarves all—that Melbourne is big on sport. This special MTalks event explored Melbourne’s unique love of both, and even, the less-obvious connection between sport and art. Hear from MPavilion’s 2016 architect Bijoy Jain along with Robyn Archer as host and a bunch of people including Gideon Obarzanek, Yumi Umiumare and David Pledger who cross the worlds of art and sport. They discussed what it means to find ‘flow’ and how this translates to creative approaches, how dual arts and sports practice can form synergies in their creative lives, and there is sure to be many surprises.

Australian poet, Judith Rodriguez, has been teaching poetry at universities internationally and at the Council of Adult Education for fifty years. She brings to this program a global knowledge of poetic forms and history. This is Part 3 of a three part series. Rodriguez taught English at La Trobe University from 1969 until 1985. In 1986 she was  writer-in-residence at Rollins College, Florida, an experience commemorated in her ninth collection Floridian Poems (1986). In 1989 she took up a lectureship in writing at Victoria College, which in 1993 became part of Deakin University, where she continued to teach until her retirement in 2003. Rodriguez's first poetry collection was published in 1962 as part of Four Poets, the others being fellow Brisbane poets David Malouf, Rodney Hall and Don Maynard. The title poem of her first solo collection, Nu-Plastik Fanfare Red: and other poems (1973), has remained an anthology favourite; it demonstrates her highly effective use of direct and forthright language and striking imagery.Water Life (1976) won the inaugural South Australian Biennial Literature Prize in 1978, while one of Rodriguez's most highly-regarded collections, Mudcrab at Gambaro's (1980) received both the Sydney PEN Golden Jubilee Award for Poetry and the Artlook/Shell Literary Award in 1981. The title sequence of poems celebrates life and sensuality through the eating of Queensland mud crab. Rodriguez is also known for her poems about women's experiences; the title poem of Witch Heart (1982), published by the feminist press Sisters, records a visit to Robyn Archer's play about the often disastrous lives of famous women performers, A Star is Torn.

This is the second in a series of three programs on 20th century poetry in English.Rodriguez was born Judith Catherine Green in Perth and grew up in Brisbane. She was educated at Brisbane Girls Grammar School, and graduated from the University of Queensland with a Bachelor of Arts. She then travelled to England, where she received a Master of Arts from Cambridge University in 1965, where she met her first husband, Colombian Fabio Rodriguez.[1]She has published numerous volumes of poetry, some illustrated by her own woodcuts, edited an anthology and the collected poems of Jennifer Rankin. From 1979 to 1982, she was poetry editor for the literary journal Meanjin, and from 1988 to 1997 she was a poetry editor with the publisher Penguin Australia. The play Poor Johanna, co-written with Robyn Archer, was produced in 1994 and her libretto for Moya Henderson's opera Lindy, about the Azaria Chamberlain disappearance, was performed at the Sydney Opera House in 2002.[2] She is a recipient of the Christopher Brennan Award and taught at La Trobe University (1969–1985) and Deakin University (1998–2003).

Nature Theater of Oklahoma talks with Australian arts advocate, festival director, and world-renowned singer and performance artist Robyn Archer about building a life for herself in the theater – what about the resistance she’s faced along the way?  How do we continually track that resistance and disturbance in our lives and work (and curatorial choices) in order to avoid complacency?

This is a celebration of 30 years of the NRLA! You'll hear interviews with Neil Bartlett and Tim Etchells, oration and performance from Robyn Archer, audience experience of being there and a few surprises too. The podcast is introduced by Alison Hutcheson and was produced by Woods Noble Media