Jerome Bel's The Show Must Go On is not so much a dance show as a show about dance. Its conventions, constructions, its expected forms, are mostly stripped away.

When Douglas Wright sets his stage with a big grey wall, it's a wall with an enigmatic, palpable life of its own.

Russell Baillie reviews the first night of Australian singer-songwriter Paul Kelly's Auckland Arts Festival season.

In Auckland, we're in the middle of an Arts Festival. All over town there are actors, musicians, dancers and pornographic puppets doing their artistic business at myriad venues.

Bernard Orsman talks to the people behind a most generous offering to Auckland.

Wildlife artist Chris Gaskin spends hours drawing the intricate patterns on a bird.

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.

The stage is dark with just the faint gleam of drum kit, sita, cello, violin and four seated musicians.

When the Basement theatre is packed out at 10pm on a Monday night for a local production based on a 19th century novella by Henry James, I think it is safe to say the Auckland Fringe Festival and the Auckland Arts Festival are going off.