National Photographic Portrait Prize 2026

Visual Art Exhibition Review | Brian Rope

National Photographic Portrait Prize 2026 | Various Artists

National Portrait Gallery | 22 August – 11 October 2026

Warwick Art Gallery | 21 November 2026 – 16 January 2027

Glasshouse Port Macquarie | 6 February – 28 March 2027

Unley Museum | 16 April – 17 July 2027

Godinymayin Yijard Rivers Arts & Culture Centre | 21 August -23 October 2027

Gympie Regional Gallery | 26 November 2027 – 5 February 2028 The National Photographic Portrait Prize was first conducted in 2007. This is the final one. This year’s 30 finalists are in this exhibition. So too are 30 selected finalists from previous years. This review only discusses this year’s artworks.

One might say that 2026 was the year for Naarm/Melbourne photo artists as almost half of the finalists, including all three winners, are based there. The chosen winner is Nathan Beard. The First Time Finalist Award has been given to Phuong Nguyen Le. The Art Handlers’ Award was given to Hussein Abdirahman Mohamud. Their three winning images have, naturally, already been published and written about in numerous other places, so I will only look at some of the other 27 finalists here.

I really enjoyed The Falling, by collaborators Lakie Sideris and Gretel Taylor. Sideris is the artist who took the photograph. Taylor - a dance artist, curator and researcher known for her site-specific performance work – is the subject. The excellent image of a falling movement is a powerful portrayal of sensing and moving with the surrounding environment.

 

The Falling, 2026 - Laki Sideris, Gretel Taylor
- pigment photographic print (frame: 87.0cm x 62.3cm depth 4.0cm)

There is much to look at in Walkabout, by Michael Cook. This portrait places its subject at the heart of Japan’s commercial district, memorialising aspects of Japanese culture. Whilst letting you explore it for yourself, I have to mention one thing that particularly attracted my attention. The subject is holding numerous dogs on leads. Watching them from high above is a cat. Not just any cat, but one who is a symbol of the Metropolitan Police Department. I imagine it pouncing should any dog misbehave.

 

Walkabout, 2025 - Michael Cook
- pigment photographic print (frame: 125.1cm x 164.0cm depth 6.1cm)

Franky Tsang’s artwork, Between us, is a delightful study of his young daughter sitting quietly on her own. Tsang was nearby, watching from a short distance when he took the image, so it includes the nearby surroundings. The colourfully dressed child is beautifully lit seated beneath a streetlamp, whilst the surroundings are monotone. The image is an excellent example of the artist’s portraiture practice which focusses on subtle, often unspoken moments.

 

Between us, 2025 - Franky Tsang
- pigment photographic print (frame: 90.0cm x 120.0cm depth 4.5cm)

Another diptych, by collaborators Briony Galligan and Abbra Kotlarczyk, explores family trees, queerness, toxicity and healing. The artists explain their intention to use a double exposure to counter “the idea that supposedly containable units of one’s family, body, identity and history are sealed in some way”. Regardless of that, both parts of the gentle, colourful diptych are delightful.

 

Arranging by chance (doctored exposure), 2025 - Briony Galligan, Abbra Kotlarczyk
- diptych: pigment photographic prints (various (see individual records for details))

Another finalist is a high-quality monochrome portrait by Dean Saffron of a much-loved indigenous Australian photographer, Mervyn Bishop. He is pictured reflecting quietly just before his 80th birthday. Appropriately, he is accompanied by his own reflection. He is portrayed in the same honest way that his own works over many years have ensured other Aboriginal people have been seen.

 

Uncle Mervyn Bishop - Australia’s first Aboriginal press photographer, 2025 - Dean Saffron
- gelatin silver photograph (image: 94cm x 140cm. frame: 103.3cm x 153.2cm depth 3.5cm)

I was personally most pleased to see a work by Madeline Bishop. I have known her since she was a baby and keenly followed her developing artist career. The image was shot as part of a series exploring how people make homes from the shell’s they’ve been given. The concept is “like spaces, our bodies hold history, memory and evidence of our experiences; the site for our hopes, dreams, anxieties and fears to play out.”

 

On the chair, 2025 - Madeline Bishop
- pigment photographic print (frame: 59.8cm x 59.8cm depth 4.0cm)

I loved the idea behind A portrait as a parent. Mia M. McDonald began with a candid portrait taken in her kitchen. A print of it was attached to a wall and her kids were invited to hand-colour it as they wished. The end result was this most colourful fun portrait which, to my mind, perfectly portrays the colouring-in activity loved by children. I do have one small wish – I would have liked to see a little more of mum’s face.

 

A portrait as a parent, 2025 - Mia M. McDonald
- lambda photographic print (frame: 120.2cm x 80.2cm depth 4.7cm)

Finally, a comment about a work by Canberra’s Sammy Hawker who continues to explore a diverse range of experimental techniques. The chromatograms are the most intriguing portraits I have ever seen. What do you think of the artwork?

 

Three Siblings Chromatograms of Emmie, Rasmus and Cosmos, 2026 - Sammy Hawker
- pigment photographic print (sight: 50.6cm x 134.0cm. frame: 54.4cm x 137.8cm depth 3.5cm)

If you are not able to visit the exhibition, all the finalists can be seen at https://www.portrait.gov.au/nppp-images.php. You can also vote for the People's Choice Award there - voting closes Wednesday 30 September 2026.

This review is also available on the author's blog. A shorter review has also been published on the Canberra City News website.

SAPLINGS -Australian Theatre for Young People - The Q, Queanbeyan Performing Arts Centre

 

Actors from Australian Theatre for Young People's production of " Saplings"

Written by Hannah Belasky

Directed by Abbie-Lee Lewis - Associate Director: Ryan Whitworth-Jones

Set and Costume co-designers:  Angela Doherty & Morgan Moroney

Composer & Sound designer: Michael Weir – Fight Director: Tim Dashwood

Stage Managed by Anastasia Mowen – Presented by Australian Theatre for Young People

Performed by: Talijah Blackman-Corowa -Maliyan Blair – Sam Harmon – Danny Howard

The Q, The Queanbeyan Performing Arts Centre. August 22^nd, 2026.

Evening performance reviewed by BILL STEPHENS.

Actors from Australian Theatre for Young People's production of "Saplings" 

Written by Hannah Belasky drawing on material gathered from a series of workshops with young people experiencing difficulties through the youth justice system, Saplings sheds light on this problem with an impressively mounted production by Australian Theatre for Young People.

Loud rap-music greeted the audience as it entered the theatre, supporting the gritty setting by Angela Doherty and Morgan Moroney, which consisted of four levels of horizonal cement-appearance steps against at concrete wall suggesting an uninviting inner-city meeting place in which a few plants struggle vainly to make the environment appear more-user friendly.

The pre-publicity for this production suggested that four young actors would take on multiple roles in this production, but regretfully there was no supporting material available at the theatre providing the names of the actors or the roles they would play.

It was only when this writer returned home after the performance and consulted the Australian Theatre for Young People website that it was established that the actors were Talijah Blackman, Corowa-Maliyan Blair, Sam Harmon and Danny Howard.

The problem was exacerbated when the play began, because director, Abbie-Lee Lewis, had her actors performing in a very naturalistic style, more suitable to film or television than for stage where it is necessary to project the dialogue rather than rely on cameras or microphones to pick it up.

Much of the dialogue was unintelligible because it was delivered very quickly, spoken very softly or sometimes by actors with their backs to the audience.  The result was that much of the play was so unintelligible as to render it almost impossible to engage with, or follow what was going on.

This was a real shame, because it was obvious that the actors were talented and acting with commitment. Their handling of props, which included re-arranging set pieces to denote changes in time and place was excellent, as was the production design.  

Director Lewis had included poetic touches which should have been moving, but that possibility evaporated when their purpose lost when not communicated.

All of which added to the disappointment because Saplings was obviously meant to deliver an important message which was lost at this performance.

                                                      Photos by Clare Hawley

 

LA STUPENDA: A Joan Sutherland Celebration - Joan Sutherland Theatre -Sydney Opera House

 

Conducted by Speranza Scappucci – Directed by Stuart Maunder AM

Hosted by Laura Tingle – Lighting Design by Alex Lynn

Joan Sutherland Theatre – Sydney Opera House – August 20^th & 22^nd, 2026

Performance on 20^th August reviewed by BILL STEPHENS.

Jessica Pratt in an excerpt from "Lucrezia Borgia"

It was a happy decision for Opera Australia to close its 70th winter season with two gala concerts celebrating Dame Joan Sutherland in the centenary year of her birth. One of opera’s greatest voices, Sutherland inspired generations of Australian singers and remains central to the company’s history.

Equally apt was the choice of Jessica Pratt as principal artist. Internationally acclaimed in the demanding bel canto repertoire that made Sutherland famous, Pratt is regarded as a natural successor. Directed by Stuart Maunder and hosted by ABC presenter Laura Tingle, the program drew thoughtfully on operas closely associated with Sutherland’s career.

Rossini’s sparkling overture to Semiramide recalled Sutherland’s celebrated 1983 performance and introduced conductor Speranza Scappucci in an impressive Opera Australia debut. Her crisp, confident direction drew responsive playing from the orchestra and vital singing from the cast.

Jane Ede -Luke Gabbedy - John Longmuir - Jennifer Black - Sidna Nissen - Jake Lyle in excerpt from "Don Giovanni"

A stirring scene from Mozart’s Don Giovanni opened the vocal program, with John Longmuir, Luke Gabbedy, Shane Lawrencev, Jane Ede, Jennifer Black, Sidra Nissen and Jake Lyle combining effectively. Caitlin Hulcup and Black offered an exquisite Flower Duet from Delibes’ Lakmé, followed by the Ghost Trio from Offenbach’s The Tales of Hoffmann, engagingly sung by Ede, David Parkin and Hulcup. The Opera Australia Chorus then brought warmth and serenity to Mozart’s Idomeneo.

Jessica Pratt in excerpt from "Norma"

However, Pratt’s extended appearances in Norma, Lucia di Lammermoor and Lucrezia Borgia made the evening memorable. Mindful of Sutherland’s cherished interpretations, Pratt’s performances were thrilling in their own right. Her dazzling technique dispatched bel canto’s intricacies with apparent ease, while her instinctive theatricality made each scene far more than a vocal display.

For Norma, Pratt swept onstage in black silk lavishly trimmed with gold. Her poised “Casta Diva” contrasted tellingly with Norma’s fury when the young priestess confessed her love for Norma’s unfaithful lover. No less arresting was Pratt’s entrance in a blood-soaked gown for Lucia di Lammermoor, or her anguish as Lucrezia Borgia realised she had poisoned her son.

Jessica Pratt in excerpt from "Lucia di Lammermoor"

Her use of costume, meticulous response to the text and ability to sustain a final pose through tumultuous applause made her riveting. Tenor Kang Wang supported her admirably as Pollione in Norma and Gennaro in Lucrezia Borgia. Hulcup was a touching Adalgisa, while Parkin as Raimondo and Dalibor Jenis as Enrico added drama to Lucia di Lammermoor.

Maunder wisely reserved the final word for Sutherland. A montage of her performances accompanied concertmaster Matthieu Arama’s lustrous “Méditation” from Thaïs, before footage of Sutherland’s 1990 Sydney Opera House farewell filled the theatre with her image and unmistakable voice singing “Home Sweet Home”.

It was a moving conclusion to a beautifully judged celebration that honoured an incomparable Australian artist while confirming Pratt as a compelling custodian of the bel canto tradition.

                                                     Photos by Keith Saunders

             This review first published in the digital edition of CITY NEWS Link

 

I LOVE YOU. YOU'RE PERFECT. NOW CHANGE

 

I Love You. You’re Perfect. Now Change. Music by Jimmy Roberts. Book and Lyrics by Joe Dipietro.

Directed by Janie Lawson. Assistant Director and Choreographer Amy Campbell. Musical Direcor and keyboard. Leo Amadeus. Violin Laura Lay. Set Design Cate Clelland. Concept sSet Design Janie Lawson. Lighting Design Craig Muller. Sound Design James McPherson. Costume Design Louise Newey. Stage Manager and Lighting Operator Liz Phillis. Sound Operator and Mic Technician Logan Steed. Producer Anne Somes. Free Rain Theatre. ACT HUB 19 August- 5 September 2026. Bookings: enquiries@acthub.com.au

Reviewed by Peter Wilkins

 

The cast of I Love You. You're Perfect. Now Change

Director Janie Lawson makes an impressive directorial debut with her Free Rain production of Jimmy Roberts’ and Joe Dipietro’s I Love You. You’re Perfect. Now Change. Lawson herself is an acclaimed musical theatre performer and she has turned out a treat.  This is an absolutely delightful show, jam packed with hilarious comedy, catchy tunes and familiar insights into the power and fickle frailty of Love over we mere mortals.  

Amelia Andersson-Nickson and Sarah Copley in
I Love You. You're Perfect. Now Change

On entering the ACT HUB theatre I am instantly struck by Janie Lawson’s concept and Cate Clelland’s simple design of a chess board with a variety of identifiable chess pieces spread about the floor. The irony is inescapable; the statement black and white. The female Queen is the most powerful piece upon the board, able to attack or defend at will. The male King is the most defenseless, forced to retreat under attack until cornered and checkmated to end the game.

David Pearson and Sam Thomson in I Love You. You're Perfect. Now Change

Lyricist and writer Joe Dipietro takes an affectionate and slightly satirical swipe at the sexes and their love dilemmas in a series of short vignettes from dating to meeting the parents to sexting, the marriage, gay love, sex in marriage and love in old age. A company Prologue and harmonious Epilogue bring this wild and wonderful journey to an end at which monastic expectation is shed for a new beginning. Composer Jimmy Roberts suits the music to the scene from pop to Country and Western to Hip Hop and Tango all underpinning the singer’s struggle within the situation, all embraced by the full cast cantata to lead you through the stories.

The Wedding Scene from I Love You. You're Perfect. Now Change

Lawson has gathered an excellent cast of six talented performers, each with their moment to shine, solo or in duet. Deborah O’Toole and Amelia Andersson-Nickson bemoan the lack of male prospects in Single Man Drought. Connor McNaught shows a sensitive side to the man in Tear Jerk with Sarah Copley who lends a touch of pathos in her monologue The Very First Dating Video of Rose Ritz, a cry for help by all divorced single mothers. Sam Thomson lets out the loss of identity in a gay relationship, saddled with the responsibility of raising a child in The Baby Song. It’s a dilemma shared by McNaught and Andersson-Nickson in Marriage Tango  in Sex and the Married Couple. While the younger members of the company reveal the pain of Love through early relationships, marriage and family, DiPietro includes the older couple, played with authentic perception by O’Toole and Pearson. Too many magic moments to mention, this 30 year old Off Broadway musical has stood the test of time with book, lyricS and music that prove thoat Love’s game of chess has not changed. There will be someone in the audience who, like an audience member in 1996 will think, if not cry out “That’s my life.”

David Pearson. Deborah O'Toole, Amelia Andersson-Nickson and Sam 
Thomson in I Love You. You're Perfect. Now Change

It is a pity that from my seat in the front row I could not see Musical Director on keyboard Leo Amadeus and violinist Laura Lay behind a couch. It is to their credit that keyboard and violin were sufficient to accompany the singers and at the same time capture the spirit of Roberts’ music and Dipietro’s lyrics. Off Broadway has come to ACT HUB with a wonderful cast of local performers and this is an opportunity not to miss. Audiences will laugh, Some may shed a tear. All will see a bit of their lives performed by a cast that make every moment shine.

Photos by Janelle McMenamin

Promotional Photography by Andrew Sikorski

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              

I Love You. You’re Perfect. Now Change. Music by Jimmy Roberts. Book and Lyrics by Joe Dipietro.

Directed by Janie Lawson. Assistant Director and Choreographer Amy Campbell. Musical Direcor and keyboard. Leo Amadeus. Violin Laura Lay. Set Design Cate Clelland. Concept sSet Design Janie Lawson. Lighting Design Craig Muller. Sound Design James McPherson. Costume Design Louise Newey. Stage Manager and Lighting Operator Liz Phillis. Sound Operator and Mic Technician Logan Steed. Producer Anne Somes. Free Rain Theatre. ACT HUB 19 August- 5 September 2026. Bookings: enquiries@acthub.com.au

Reviewed by Peter Wilkins

 

Director Janie Lawson makes an impressive directorial debut with her Free Rain production of Jimmy Roberts’ and Joe Dipietro’s I Love You. You’re Perfect. Now Change. Lawson herself is an acclaimed musical theatre performer and she has turned out a treat.  This is an absolutely delightful show, jam packed with hilarious comedy, catchy tunes and familiar insights into the power and fickle frailty of Love over we mere mortals.  

On entering the ACT HUB theatre I am instantly struck by Janie Lawson’s concept and Cate Clelland’s simple design of a chess board with a variety of identifiable chess pieces spread about the floor. The irony is inescapable; the statement black and white. The female Queen is the most powerful piece upon the board, able to attack or defend at will. The male King is the most defenseless, forced to retreat under attack until cornered and checkmated to end the game.

Lyricist and writer Joe Dipietro takes an affectionate and slightly satirical swipe at the sexes and their love dilemmas in a series of short vignettes from dating to meeting the parents to sexting, the marriage, gay love, sex in marriage and love in old age. A company Prologue and harmonious Epilogue bring this wild and wonderful journey to an end at which monastic expectation is shed for a new beginning. Composer Jimmy Roberts suits the music to the scene from pop to Country and Western to Hip Hop and Tango all underpinning the singer’s struggle within the situation, all embraced by the full cast cantata to lead you through the stories.

Lawson has gathered an excellent cast of six talented performers, each with their moment to shine, solo or in duet. Deborah O’Toole and Amelia Andersson-Nickson bemoan the lack of male prospects in Single Man Drought. Connor McNaught shows a sensitive side to the man in Tear Jerk with Sarah Copley who lends a touch of pathos in her monologue The Very First Dating Video of Rose Ritz, a cry for help by all divorced single mothers. Sam Thomson lets out the loss of identity in a gay relationship, saddled with the responsibility of raising a child in The Baby Song. It’s a dilemma shared by McNaught and Copley in Marriage Tango  in Sex and the Married Couple. While the younger members of the company reveal the pain of Love through early relationships, marriage and family, DiPietro includes the older couple, played with authentic perception by O’Toole and Pearson. Too many magic moments to mention, this 30 year old Off Broadway musical has stood the test of time with book, lyricS and music that prove that Love’s game of chess has not changed. There will be someone in the audience who, like an audience member in 1996 will think, if not cry out “That’s my life.”

It is a pity that from my seat in the front row I could not see Musical Director on keyboard Leo Amadeus and violinist Laura Lay behind a couch. It is to their credit that keyboard and violin were sufficient to accompany the singers and at the same time capture the spirit of Roberts’ music and Dipietro’s lyrics. Off Broadway has come to ACT HUB with a wonderful cast of local performers and this is an opportunity not to miss. Audiences will laugh, Some may shed a tear. All will see a bit of their lives performed by a cast that make every moment shine.

Photos by Janelle McMenamin

Promotional Photography by Andrew Sikorski