
Andrew Fuhrmann
Contributor at The Herald Sun
Dance Critic at The Age
Articles
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6 days ago |
smh.com.au | Giselle Au-Nhien Nguyen |Andrew Fuhrmann |Jessica Nicholas
By Giselle Au-Nhien Nguyen, Andrew McClelland, Andrew Fuhrmann and Jessica NicholasUpdated May 9, 2025 — 1.06pmfirst published May 8, 2025 — 11.59am, register or subscribe to save articles for later. Add articles to your saved list and come back to them any time.
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2 months ago |
theage.com.au | Cher Tan |Andrew Fuhrmann
By Cher Tan and Andrew Fuhrmann February 27, 2025 — 2.11pm, register or subscribe to save articles for later. Save articles for laterAdd articles to your saved list and come back to them any time. Key pointsTHEATRE: Goldfish as part of Asia TOPA tells a story of hopePERFORMANCE ART: Melati Suryodarmo performs at DancehouseTHEATRE | ASIA TOPAGoldfish ★★★★★Arts House, until March 1It is a time of crisis, and it has been for some time.
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2 months ago |
watoday.com.au | Cher Tan |Andrew Fuhrmann
Exponential Interactive, Inc d/b/a VDX.tvCookie duration: 90 (days). Data collected and processed: IP addresses, Device identifiers, Probabilistic identifiers, Browsing and interaction data, Non-precise location data, Users’ profiles, Privacy choicesmoreCookie duration resets each session. View details | Privacy policyConsentCookie duration: 365 (days).
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2 months ago |
theage.com.au | Andrew Fuhrmann |Cher Tan
By Andrew Fuhrmann and Cher Tan February 22, 2025 — 2.08pm, register or subscribe to save articles for later. Save articles for laterAdd articles to your saved list and come back to them any time. DANCENijinsky ★★★★Regent Theatre, until March 1John Neumeier’s ambitious homage to the legendary Russian dancer and choreographer Vaslav Nijinsky is almost too much to bear.
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2 months ago |
australianbookreview.com.au | Andrew Fuhrmann |Arts Highlights
Silence is the central theme of Patricia Cornelius’s latest play, a theatrical documentary about the life and times of Julian Assange, focusing especially on his persecution following the publication of classified US military and diplomatic documents in 2010. This theme is announced in huge white letters on a bank of video screens above the stage in the play’s opening moments, where it lingers against the dark background like an accusation.
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