Martha Wainwright describes her look as "ageless" - she is poised on the stage dressed like a school-girl with hair all wispy like her grandmother's.

Maguy Marin's landmark work, celebrating 30 feted years of continuous performance, begins with the sculptured forms of its ten dancers, posed in dusty alabaster-like desertion.

Teatro de Los Andes, based in Bolivia, offered to stage their "earthquake play" here instead of La Odisea, but were turned down for logistical reasons.

If you are looking for a show that is funny and uplifting, it is unlikely that you would settle on something that has interminable and suicide in its title.

Named by Rolling Stone magazine as one of 50 moments that changed the history of rock and roll.

Boldly and cleverly, this Flaxworks solo show is built upon one solitary, striking symbol of celebrity.

Bernadette Rae talks to the man many consider the guru of New Zealand dance, master choreographer Douglas Wright.

Set designer John Verryt shows Viva a few of his favourite treasures.

Heroes don't come much kookier than Xerxes. He may be the King of Persia but he opens Handel's opera by extolling the beauties of a plane tree; a man who, as one character comments, "is aroused by a rough trunk."

The latest piece of youth-oriented theatre from Massive Company adopts the admirably egalitarian but dramatically unsatisfying strategy of giving what amounts to a lead role to each member of the 14 person cast.

Jacqueline Smith's week of tv, music and movies.

When is a dance work not a dance work? asks Bernadette Rae about an Arts Festival piece which mixes French intellectualism, untrained performers and Lionel Richie.

Rebecca Barry talks to Kiwi opera singer Kristen Darragh about her drive to perform around the world.

Deep in the Forest is subtitled a Cautionary Cabaret and punters should be cautioned to exercise a certain amount a scepticism when viewing the show's promotional material.