Advertise on podcast: In Conversation

One of Australia’s pre-eminent actresses, Pamela Rabe has graced our stages and screens for over four decades. Her list of credits is vast, having appeared in seminal plays, from Private Lives and The Glass Menagerie, to God of Carnage and August: Osage County. She’s also no stranger to the screen, most notably for her portrayal of Joan Fergusson in Wentworth. She’s received countless nominations for Green Room, Helpmann, and AACTA awards, scoring wins for many including her roles in The Well, The Wizard of Oz, and the aforementioned Wentworth.  Pamela traces her remarkable journey from a childhood in Canada to a distinguished career in Australia across stage and screen. She reflects on her early love of radio and storytelling, the formative experiences that led her into acting, and the unexpected path that brought her to Australia, where appearing different became an asset rather than a limitation. She gives thoughtful reflections on the nature of performance, as well as her experience stepping into the iconic role of Joan Ferguson in Wentworth.  In the 2023 Queen’s Birthday Honours, she was made a Member of the Order of Australia for significant service to the performing arts as a performer and director.  Pamela Rabe stars in a gripping new theatrical adaptation of Olga Tokarczuk’s cult novel Drive Your Plow Over the Bones of the Dead for Belvoir Street Theatre until May 10, followed by the leading role of Sister Aloysius in John Patrick Shanley’s Doubt for the Sydney Theatre Company from June 30.

A conductor with an impressive career that now spans 45 years, Sir Donald Runnicles has had enduring relationships in chief artistic leadership positions at many organisations around the world – Deutsche Oper Berlin, the Scottish Symphony Orchestra, the Sydney Symphony Orchestra, the Grand Teton Music Festival amongst many others, with his newest position as Chief Conductor of the Dresden Philharmonic. He’s quite the Wagnerian and is celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire. In this conversation, Donald traces his path from a musical upbringing in Edinburgh immersed in church music and choral singing to an international career defined by long-standing artistic relationships and a deep affinity for German repertoire, particularly Wagner. He reflects on the formative experience of learning his craft in the opera houses of Germany, the importance of communication as a conductor through gesture rather than words, and how his understanding of music continues to evolve over time. He also gives insights into his work and relationship with the Sydney Symphony Orchestra as its Chief Guest Conductor. Sir Donald Runnicles conducts the Sydney Symphony Orchestra for Tchaikovsky’s Fifth Symphony and Shostakovich’s Violin Concerto no 1 from 15-18 April.

A composer who has been capturing our imaginations for over 40 years, Alan Menken is best known for his stage and screen compositions for a slew of Walt Disney films and subsequent stage musicals. He was one of the creative powerhouses behind what has become known as the Disney Renaissance, composing for The Little Mermaid, Beauty and the Beast, and Aladdin amongst many other titles. And that was all in addition to his non-Disney shows, which include the classic Little Shop of Horrors and the stage version Sister Act. He’s received an extraordinary number of awards – 8 Academy Awards, a Tony, 11 Grammies, 7 Golden Globes and a Daytime Emmy. He’s collaborated with some of the most well-known lyricists in musicals – including Howard Ashman, Stephen Schwartz, Tim Rice, Benj Pasek and Justin Paul, and Lin-Manuel Miranda.  In this conversation, Alan traces his journey from a musically curious child more interested in improvising than practising, to one of the most decorated composers in entertainment history. He offers candid insights into his collaborations with lyricists such as Howard Ashman, the creative alchemy behind iconic works like The Little Mermaid, Beauty and the Beast, and Aladdin, and the constant process of rewriting, refining, and often discarding songs in pursuit of the finished product. Along the way, he speaks with honesty and humour about resilience, creative instinct, and the importance of not becoming too precious about your own work. A Whole New World of Alan Menken, comes to Melbourne’s Palais Theatre on Wednesday May 6, and the Sydney Event Centre on Friday May 8.

A fiercely original voice in Australian theatre, Sheridan Harbridge is an artist who moves fluidly between acting, writing and directing, and who thrives on the adrenalin of making new work. In this wide-ranging conversation, she speaks about her latest projects, including co-writing the book for the new Australian musical My Brilliant Career, based on the Miles Franklin novel, returning to the stage in Suzie Miller’s Prima Facie, and bringing the electrifying life of Chrissy Amphlett to audiences in Amplified. At the centre is her deep commitment to telling stories that feel urgent, female-driven, and theatrically daring and that connect with audiences. Sheridan also reflects on the path that led her here, from a childhood in country Victoria, through her time at NIDA, to the lessons learned from a career built largely on original material. She speaks openly about the tolls and challenges that sit behind a good performance, and the responsibility of carrying stories that resonate far beyond the stage. Throughout, Sheridan is full of candour and wit, revealing a theatre maker driven to make work that leaves a lasting mark. My Brilliant Career shows at the Rosalyn Packer Theatre until May 3, then heads to the Illawarra Performing Arts Centre until May 17. Amplified: The Exquisite Rock and Rage of Chrissy Amphlett is on at the Seymour Centre on April 15-25. Suzie Miller’s Prima Facie plays at Melbourne’s Comedy Theatre from May 20, coming to Sydney’s Rosalyn Packer Theatre from June 3. 

A conductor who has been making a name for himself in both Australia and Europe, Sam Weller has conducted top tier orchestras including the Rotterdam Philharmonic, the Orchestra of the 18th Century and the Dutch Radio Philharmonic, as well as our own Adelaide, Tasmanian, West Australian and Queensland Symphony Orchestras.  In a wide-ranging conversation that moves from bold contemporary programming to the realities of building an international career, Sam works between Sydney and Amsterdam, and continues to develop Ensemble Apex, the group he founded as a student. Their upcoming program Behind Me is the Dark reflects his fascination with contrast, texture, and the meeting point of sound and visual design – an approach that speaks to his broader aim of making concerts feel immediate, immersive, and alive for audiences today.  Sam also reflects on his musical beginnings, from playing saxophone at Newtown High School of the Performing Arts to an early, eye-opening experience conducting his school orchestra at the Sydney Opera House as a teenager. He speaks candidly about the steep learning curve of conducting, the influence of mentors and collaborators, and the ever-expanding possibilities of orchestral sound. Thoughtful and honest, Sam offers insight into both the craft of conducting and the mindset required to navigate a fast-moving, global musical life. Sam Weller conducts Ensemble Apex for Behind Me is the Dark at ACO on the Pier on 1-2 April.

Musical theatre performer Jarrod Draper steps into the role of Raoul in Andrew Lloyd Webber’s The Phantom of the Opera for the spectacular Handa Opera on Sydney Harbour. A proud Wiradjuri man and the first Indigenous graduate of WAAPA’s musical theatre program, Jarrod reflects on the journey that led him to this moment – from growing up in Orange in a sports-loving family to discovering musical theatre through a community production of The Boy from Oz. Along the way he shares his musical influences – from Disney to Stephen Sondheim and Tracy Chapman and beyond – that has helped shape his voice and storytelling as a performer.  Jarrod also explores the deeper personal experiences behind his career: the bullying that prompted his move to continue his schooling in Sydney, his formative years at WAAPA, the challenges and opportunities he has encountered as an Indigenous performer navigating the musical theatre industry, and his desire to act to improve outcomes for emerging First Nations artists. Through stories of touring life, pivotal productions like Moulin Rouge! The Musical, and the artists who inspired him, Jarrod reflects on resilience, identity, and the importance of staying grounded in family. It’s a thoughtful and inspiring look at a performer whose career continues to gather momentum on the biggest stages of Australia and beyond. Jarrod Draper plays Raoul, Vicomte de Changny, in Andrew Lloyd-Webber’s The Phantom of the Opera, the 2026 Handa Opera on Sydney Harbour thanks to Opera Australia, from March 27 through to May 3.

An Australian soprano admired by international critics for her “glossy, commanding sound” and “magnificent dramatic power”, Lauren Fagan is one of the most impressive and versatile sopranos on today’s stages. She’s performed roles with the Canadian Opera Company, Scottish Opera, the Glyndebourne Festival, Opernhaus Zürich, and Opéra de Paris, and many others, for roles ranging the full spectrum from Gutrune in Götterdämmerung to Violetta in La Traviata, and she’s equally at home on the concert stage too.  In this conversation, Lauren also looks back on an unconventional path into opera, growing up in a sporty Sydney family with little classical music in the house before discovering singing through school musicals and competitions. After studying business and working in IT sales, she took a leap of faith and moved to London to pursue singing seriously – a decision that led her to train at the Guildhall School of Music, the prestigious Jette Parker Young Artist Programme at the Royal Opera House Covent Garden, and an international career across Europe and beyond. Now based in Vienna, she reflects on the realities of life as an opera singer, the importance of mentors and language skills, and the balance between artistic ambition, personal life, and the demanding global nature of the profession. Lauren Fagan performs the role of Tatiana in Tchaikovsky’s Eugene Onegin with Opera Australia until 28 March.

A violinist hailed for her “brilliant, polished, expressive and intense, absolutely stunning playing,” who is respected by critics, peers and audiences alike, Dutch born Simone Lamsma has an extensive repertoire, having performed with the world’s top orchestras. She’s played with the New York and London Philharmonics, the Royal Concertgebouw and Vienna Symphony to name just a tiny fraction, and worked with an equally impressive array of conductors, be it Jukka-Pekka Sarasate, Edo de Waart, Jaime Martín or Asher Fisch. She also has eight albums to her name, and counting. Simone speaks about her desire to play the violin from the age of just two, when led her to move internationally at 11 to attend the Yehudi Menuhin School in the UK, then onto the Royal Academy of Music and a stunning solo career. She shares her deep love of music which she has always felt was her spiritual home, the importance of Bach to the world of music, and her long affection for the Britten Violin Concerto which holds a special place in her heart. Simone Lamsma performs Britten’s Violin Concerto with the Sydney Symphony Orchestra under chief conductor Simone Young on 6 and 7 March.

Recognised as one of the most dynamic and internationally acclaimed conductors of his generation, Andrea Battistoni has conducted in many of the world’s leading opera houses, including Covent Garden and Deutsche Oper Berlin. He’s currently music director with Teatro Regio di Torino, chief conductor of the Tokyo Philharmonic Orchestra, and has just commenced another role – as Music Director of Opera Australia. In this wide-ranging conversation, Andrea reflects on this appointment and the artistic vision he hopes to bring to a company he feels a great connection with, as well as a deep affection for the Australian way of working. While Italian opera remains central to his musical DNA, he speaks candidly about his desire to broaden his repertoire in Australia, exploring German, Slavic and contemporary works. He also offers fascinating insights into the role of a music director, from shaping orchestral sound and casting decisions to supporting singers in the unpredictable reality of live performance. Andrea traces his own journey from a childhood in Verona inspired by summer nights at the arena and a fiercely determined mother who insisted on his musical training, to becoming the youngest conductor ever to appear at La Scala. He speaks openly about the challenges of authority, leadership and learning to manage the people as much as the music, as well as the instinct that’s needed on the podium. Alongside his conducting career, composition is playing an increasingly important role in his life, with a new opera and major works premiering in Europe later this year. With lovely honesty and humour, he reflects on family life on the road, his enduring love of Puccini, and even gently compares coffee in Australia to Italy. Andrea Battistoni conducts Turandot and Madame Butterfly for Opera Australia until March 14.

Rupert Noffs is a singer, actor, writer and producer who works across cabaret and musical theatre, as well as live comedy and television. He’s recently twice toured the country as Bob Downe’s wide-eyed nepo-nephew in Choose Bob: 40 Ridiculous Years and is a founding performer in Old Friends Sing Sondheim. Rupert’s life story goes well beyond that, though, as he’s also a successful restaurateur, having co-owned venues in Australia and New York, and he and his family are part of one of this nation’s top charities, the Noffs Foundation, formerly the Wayside Foundation.  In this lively and candid conversation, Rupert reflects on his wide-ranging career, sharing his deep musical influences and long-standing creative partnerships, including his collaboration with music director Bev Kennedy and his onstage work with Bob Downe creator Mark Trevorrow. He offers an honest and often humorous account of his upbringing, revealing how performance became both an escape and a source of confidence. He also shares stories from his eclectic professional life beyond the stage, from his work with the Noffs Foundation, to his ventures in fashion and restaurant ownership in New York, bringing unexpected experiences that have shaped his resilience and creativity. Throughout, he reveals himself as an energetic and reflective artist whose life is defined by reinvention, collaboration and an enduring love of entertaining. Rupert Noffs performs Broadway, Baby at Gingers at The Oxford on Sunday 22 February.

An actor, writer, director and artistic director who is now a major force in Sydney’s theatrical scene, Mitchell Butel has come a long way from bursting onto the stage for his Sydney Theare Company debut in Six Degrees of Separation 35 years ago. Now the STC’s artistic director, he is presenting his first full season, coming to the role after a five-year stint as artistic director of the State Theatre Company of South Australia. As an actor, he’s received Helpmann awards for his turns in Avenue Q, The Mikado, Mr Burns and The Venetian Twins. He returns to the stage to star in The Normal Heart, a role he has already performed in Adelaide. Mitchell discusses how this play about the AIDS crisis in New York from the mid-80s still has resonance today, and goes on to reveal some other highlights of the 2026 season which is shaped by themes of difference, dialogue, and social change, balancing drama with humour and emotional storytelling.  We hear about his unconventional path into theatre, from growing up in Maroubra and studying arts/law to then embracing a professional acting career. He speaks of the responsibilities of leading a major arts organisation, including nurturing artists, selecting productions, and balancing creative ambition with financial sustainability, including the development of new Australian works such as upcoming productions of new musicals My Brilliant Career and Whispering Jack. Throughout, Mitchell conveys both the challenges and deep rewards of shaping the future of Australian theatre while maintaining his enduring passion for performance.  Mitchell Butel stars in The Normal Heart at the Drama Theatre of the Sydney Opera House until March 14.

A pianist whose fresh interpretations have established him as one of the most unique and unusual soloists of his generation, Dejan Lazic has performed with some of the world’s leading orchestras, among them the Chicago Symphony, the London Philharmonic, the Royal Concertgebouw and the Tokyo Symphony. He’s recorded 16 albums, and been lauded by critics, with Die Spiegel magazine praising his “grandiose technique” and The Guardian describing him as “a powerhouse performer whose playing combines strength with beauty”. He has returned to Australia to once again appear with Richard Tognetti and the Australian Chamber Orchestra, an orchestra he first saw perform as a 12 year old in Zagreb and with which he feels a special affinity. Dejan talks about his musical upbringing in Croatia, his early success as both a pianist and clarinettist, and his formative studies in Salzburg within the Hungarian piano tradition.  He reflects candidly on the challenges of growing up as a highly visible young musician, on what was needed to shake off the perceptions of being a child prodigy, and on how working as a composer is an important part of being a fully rounded musician. Throughout, he exudes energetic curiosity and a grounded humility. Dejan Lazic performs with the Australian Chamber Orchestra for Rachmaninov’s Rhapsody until February 18.

Principal trumpet of the Sydney Symphony Orchestra, David Elton, speaks about his career at the very top of the orchestral world and his ongoing commitment to new music. He discusses his collaboration with Australian composer Lachlan Skipworth, including the upcoming premiere of a new double concerto for trumpet and clarinet with the Omega Ensemble, and reflects on what it means to help shape a work from its earliest stages. He also shares insights into the art of orchestral playing, balancing virtuosity with blending one’s sound with the other players. David traces his musical journey from early violin lessons and choral singing to discovering the trumpet, studying in Australia and the United States, and holding principal positions with major orchestras in Australia and overseas, including a remarkable period serving simultaneously as principal trumpet of both the Sydney Symphony Orchestra and the London Symphony Orchestra. Along the way, he reflects on auditions, orchestral culture, teaching the next generation of musicians, and the lifelong process of refining sound, technique, and musical identity. It is a thoughtful and generous portrait of a musician who combines technical brilliance with curiosity, humility, and a deep love of music. David Elton performs with the Omega Ensemble which includes the premiere of A Turning Sky, a new concerto for trumpet and clarinet by Lachlan Skipworth, at the City Recital Hall in Sydney on February 12, at the Newcastle City Hall on February 13, and at the Melbourne Recital Centre on February 18.

Vienna-based Australian mezzo-soprano Margaret Plummer is beloved by audiences in Australia and Europe. She spent eight years as a principal artist with the Vienna State Opera, and she’s sung with orchestras from the Vienna Philharmonic to the Tasmanian Symphony Orchestra, and at La Scala and Bayreuth. She’s back in Sydney performing again with Opera Australia, for a role she is very familiar with – Hänsel, in Engelbert Humperdinck’s Hänsel and Gretel. In this conversation, Margaret recounts her journey from Sydney’s Northern Beaches to life as a principal artist at the Vienna State Opera. She speaks of her initial desire to be a jazz singer, the persistence needed to navigate the years through her training, to her time in the Opera Australia Chorus which eventually led to her leap of faith that took her young family to Europe. She offers candid insight into the realities of working in a major European repertoire house, the challenges of language and bureaucracy, which all lead to the artistic and personal freedom she now enjoys as a successful solo freelance mezzo. Margaret Plummer performs Hänsel, in Engelbert Humperdinck’s Hänsel and Gretel, with Opera Australia from January 27 to February 28.

Award-winning actress, singer, and dancer Caroline O’Connor has spent over four decades performing in Australia as well as in the West End and on Broadway. She came to world attention thanks to her role in Baz Luhrmann’s film Moulin Rouge! in 2001, but she’d already been on stage for the 20 years prior to that in a slew of theatre productions. From Helpmann-winning turns as Judy Garland and Edith Piaf, to Chicago, Funny Girl, Anything Goes, Gypsy, and many others, Caroline has musical theatre in her DNA. On top of that, she has impeccable Stephen Sondheim credentials – not only did she perform at his special 80th birthday celebration at the Royal Albert Hall, but after seeing her in Sweeny Todd, the great composer and lyricist declared her to be the best Mrs Lovatt he’d ever seen. This all makes her the ideal choice to be headlining Sondheim’s Putting it Together, playing now at the Foundry Theatre until February 15. In this conversation, Caroline reflects on her extraordinary journey in musical theatre, from her early training as a dancer to becoming one of the most respected performers of her generation. From chorus girl to leading lady, she speaks about the resilience required to navigate auditions, setbacks, and on making pivotal career decisions. She recounts her move to London, and the moments of chance and courage that led to major breakthroughs.