Ed­i­tor

The Weekend Australian - Review - - Profile - Tim Dou­glas The Week­end Aus­tralian Re­view

Rose­mary Neill to­day (Pages 6-7) delves into the murky waters of TV pro­gram­ming. Do we need more lo­cal con­tent on our screens? What are the con­se­quences of let­ting Aus­tralian sto­ries slide? And what role does the ABC play in all of this? One thing the na­tional broad­caster does well is The Mav­er­icks, its se­ries fea­tur­ing artists in con­ver­sa­tion. Graeme Blun­dell (Page 23) ex­am­ines the lat­est episode fea­tur­ing old mates the late John Clarke and English comic Alexei Sayle. It’s a salient re­minder of the tal­ent Aus­trala­sia can pro­duce (Clarke was a Kiwi, af­ter all), and just how much we have to lose. Opera Aus­tralia is busy sad­dling up a stud of an­cient clothes horses to auc­tion off some of its more fa­mous dra­matic garb. The great­est point of in­ter­est at the na­tional com­pany’s fan­cy­dress fire sale in Syd­ney this month are the Cather­ine Martin-de­signed cos­tumes from her hus­band Baz Luhrmann’s 1990 pro­duc­tion of La Bo­heme. It’s not ev­ery day boho-cou­ture by the hand of the coun­try’s most pro­lific Os­car win­ner goes up for sale, so fash­ion­istas are lin­ing up to se­cure a piece of sar­to­rial his­tory. OA says cos­tumes from the Puc­cini opera, staged two years be­fore Luhrmann made Strictly Ball­room, are likely to go for be­tween $2000 and $5000. “Fash­ion fades,” quoth de­signer Yves Saint Lau­rent, “but style lasts for­ever.” Here’s hop­ing that rings true for CM, and that her hand­i­work proves more en­dur­ing than Baz’s $150m Net­flix se­ries The Get Down, which re­cently was canned af­ter one se­ries. There is move­ment again at the coun­try’s most trou­bled arts jam­boree, the Dar­win Fes­ti­val. The city’s fes­ti­val as­so­ci­a­tion, put into ex­ter­nal ad­min­is­tra­tion last year, is ad­ver­tis­ing for a new artis­tic di­rec­tor (2018-20) days out from an­nounc­ing its 2017 pro­gram. Act­ing AD Fe­lix Preval has been in care­taker mode since An­drew Ross’s dra­matic res­ig­na­tion last year. Ross at the time cited “enor­mous dif­fi­culty” find­ing fund­ing for new work amid a pre­vail­ing cul­ture “where com­mu­nity ex­pec­ta­tion is con­sid­ered to be a sort of both­er­some lo­cal thing, like sand­flies — some­thing you have to put up with in Dar­win”. Best of luck to ap­pli­cants. Watch out for those sand­flies. Face­book: @the­week­endaus­tralian­re­view Twit­ter: @TimDou­glas_Aus In­sta­gram: @Re­view_Aus­tralian

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