Culture

Riding his pushy fast out of town, really upset after arguing with his best friend, Angus almost rides into a bloke with a shotgun. Watch where you’re going kid, says the large man. He’s wearing a jacket that isn’t suited to the burning hot day, a green peaked hat that looks crisp and shiny, a bandolier and shotgun broken open and crooked over his arm. I’m doing some shooting here, he says.

New artistic director Danni Zuvela’s first exhibition at Adelaide Contemporary Experimental is both a statement of intent and a renewal of vows.

Legends, from instrumental duo Wilson Tanner, is a rich pastoral meditation recorded in a South Australian vineyard.

In Pamela Rabe and Nick Schlieper’s steely co-production of Happy Days for Sydney Theatre Company, Winnie isn’t pretending – she’s surviving.

Artist Chunxiao Qu’s brazenly comic work dramatises the tensions between form, language and power.

The Hawks are running hot, that’s three goals to one in the third quarter and the lead’s been cut to five. Ball goes up in the middle, Ripley taps down, Walker has it, quick handball to Jones, then over to Richards –
Smooth as butter, T. B.
Certainly is, Keggo – Richards back to Walker again and Walker sends a long, long raking punt into the empty paddock of the forward pocket, and now the footrace is on.

Set pre-Trump 2.0, this Red Stitch production of  The Comeuppance by Branden Jacobs-Jenkins inspires vertigo in its depiction of a world already greatly changed.