Paul Ransom, Journalist

“Even in the past year the international derby community has just exponentially grown and, y’know, everyone has gotten a lot better.”

In Spontaneous Broadway the ball will be your court. As musical director John Thorn tells Paul Ransom, it all begins with a bucket of dreams (and a Twitter feed).

Very now, very Chunky, very bloody good.

Although there are moments where you wonder quite why you are watching this, the dénouement makes it all worthwhile.

Sheer magic. Period.

“I think that Graeme very much produces a piece of theatre, so the story is the biggest thing in each of his ballets that draws in the audience, especially for people who are technically trained or know about ballet.”

"What’s interesting about the smoke is that it allows you to look at people in a more abstract way... It’s like when you’re in the CBD and you black out individuals, you experience the mass. But if you see somebody in the crowd that you know, the veil is broken.”

"A clean window is a clean window, there’s no interpreting it. I also love to chop wood. It’s very physical, y’know. Not at all conceptual."

A big stage production of Sleeping Beauty? It’s a classical ballet lover’s dream and, as Gediminas Taranda from the Imperial Russian Ballet Company tells our tutu-sporting dance correspondent Paul Ransom, there’s nothing more Russian than a night at the ballet.

“It’s Hitchcockian. Y’know, it’s got that creepy feel to it. Even when it’s funny you might sorta think, ‘Should I really be laughing at that?’”

People are doing their own pieces but backed by music. It’s a very loose structure.

“There’s some dance stuff, some cabaret, some really exciting visual art that represents that spirit of the Fringe, which is about experimentation and work that defies convention.”