Commentary

In 2008, at the Australian zenith of the American custom of rating the first hundred days in power, Kevin Rudd issued a fifty-five-page booklet to mark his new government’s quotidian ton. Inevitably, it proved nothing much at all. Critics said it was both premature and simply validated the critique that Labor under Rudd had ‘hit the ground reviewing’. The Sydney Morning Herald worked out that Rudd had initiated an inquiry every four days, which sounded bad. But after eleven years of John Howard’s government, many things required attention. As Rudd countered, Howard had initiated ‘495 inquiries and reviews in 2005–06 alone’.

It is a truism that all politics is performance. Successful leaders are frequently adept in the manipulation and deployment of scripts, props, stages, and costumes. To their credit, British politicians have worked exceedingly hard over the past year and more to explore the full range of theatrical genres. The vaudevillian moral vacuum of Boris Johnson’s government was reprised in recent weeks as Johnson put on a command performance, all wispy blond hair and faux indignation, for the Commons Privileges Committee. The unbelievable farce that ended his time at 10 Downing Street gave way swiftly to the burlesque-cum-tragicomedy of Liz Truss and her chancellor’s calamitous (not to say ironic) ‘mini’ budget. We seem to have arrived, in the efforts of Rishi Sunak and Keir Starmer to out-gravitas one another, at a sustained attempt to revive the long-lost tradition of the morality play.

The recent pause announced by Prime Minister Benjamin Netanyahu in pushing a controversial legislative package through the Knesset marks a temporary respite from a concerted plan to challenge and overturn the system of government that has been in place since the state of Israel was created in 1948.

In December last year, the Art Gallery of New South Wales launched its Sydney Modern project, the centerpiece of which was an extraordinary new building overlooking Sydney Harbour. Sydney Modern has received mixed reviews, some lamenting that it seems to have been designed as a chic backdrop for Instagram selfies. In this week’s ABR podcast, Julie Ewington, an arts curator and broadcaster, describes her first encounter with Sydney Modern in a piece titled ‘Lyrical layers at AGNSW’, published in the April issue of ABR.

In this week’s ABR podcast, James Curran considers the response of Asia-Pacific nations to the government’s decision to retain AUKUS, the major foreign affairs initiative of the Morrison government. In seeking to shape this response, Foreign Minister Penny Wong’s message is necessarily complex, argues Curran.

Policy announcements are a peculiar kind of theatre, and Labor’s launch of its new five-year arts plan, Revive, was a strong example of the genre. It was held at Melbourne’s iconic Espy in St Kilda, a venue where arts audiences were treated to words of encouragement from Minister Tony Burke on his speaking tour to spruik the submissions process in 2022, and where ‘DJ Albo’ once entertained a modest crowd.

What has spurred thousands of ordinary women in Iran and throughout the world to take to the streets under the slogan ‘Woman, Life, Freedom’? How unprecedented is this recent uprising in the history of Iran’s women’s movement? In this week’s ABR podcast, author-journalist Zoe Holman discusses the distinctive features of this protest and argues that its primary drivers are members of Iran’s Generation Z, who are educated, fearless, and angry.