The Drawing Room

After a triumphant retelling of the history of the Wright Brothers in their last show Fly, Lano and Woodley are chasing the white whale of an audience's love, as they take on Moby Dick.

In the Drawing Room they explore the themes of the book, the frustrations of zoom meetings, and the importance of laughter.

Have you ever lost a loved one's attention to late nights of hill climbs at the Tour de France?

Maybe you've slipped on the lycra yourself and taken to the bikeways of Australia.

For more than three decades, Mike Tomalaris was the voice of cycling in this country.

In the Drawing Room, Mike opens up about his route to the race and life after SBS.

Ned Kelly is part of the Australian folk tradition: the subject of movies, books, songs and art.

But what about the stories of the men around him? Those he killed, and those who hunted him down?

Grantlee Kieza is the author of a new history book, The Kelly Hunters, which seeks to broaden the understanding of Kelly's place in history.

Over the course of six albums, Dan Sultan has become one of Australia's eminent singer-songwriters. But his last ARIA win wasn't for his usual music, it was a children's record.

In the Drawing Room, Sultan talks about the inspiration behind Nali and Friends, taking time off with his own children, and his connection to Yeperenye and the Parrtjima festival.

In an era of reputation management and corporations with aggressive legal teams, who decides what stories make it to print?

Arabella Pike is the publishing Director at William Collins Books.

Two of her authors—Tom Burgis and Catherine Belton—recently faced significant lawsuits from Russian oligarchs and she was the one who had to decide whether to cave or to hold firm and risk financial destruction.

Eddie Perfect has experienced pretty much everything a musical has to offer, but his latest role in 9 to 5 gave him something new: public shame.

While playing the villain, Eddie gets strung up above a laughing audience as the house lights go up, and he says it's something he's appreciated getting to try.

In the Drawing Room, he talks about what goes on behind the creation of a big show, and shares his recollections of Shane Warne.

"An explosion is worth a hundred million words. And that is maybe too many words to say," So says the final line on Labyrinthitis, the new album by Destroyer.

Dan Bejar may not be up to a hundred million words yet, but across thirteen albums with Destroyer and more than a few collaborations, he's created his fair share of beloved lyrics - building a cult following that sometimes crosses over into a mainstream embrace.

In the Drawing Room, Dan talks about Chekov, Cher, and acts of futility in the face of insurmountable odds.

Elite athletes are able to push their bodies to remarkable places. They perform with a grace, speed, and power that most of us can’t even imagine.

But the mental side can be just as important: from staying focused during a gruelling training session to finding a way to come back from an injury or a bad loss.

Emma Murray is the founder of High Performance Mindfulness and in the Drawing Room she shares her experience in working with athletes across a range of sports, as well as details of her new podcast, The Long Haul.

In a future where love has become an almost forgotten relic, is it possible to rekindle that flame?

On the streets of a future Hong Kong, where the value of a life isn't what it used to be, a hitman floats through his days.

When he sees a woman on the train and follows her to her work, everything begins to change for both of them.

Loveland is the new film by Ivan Sen, a sci-fi romance that asks audiences to question love, loneliness, and the cost of extending a life.

Several years ago, Mina Guli set out to run 100 marathons in 100 days, seeking to draw attention to the water crisis.

62 runs in, she was dealing with a labral tear and a 15cm fracture in her femur.

Most people would probably give up at that point, but Mina paused, recovered, and is now setting off on 200 marathons over the next year.

In the Drawing Room, Mina describes what keeps her going and why she sees this as the central crisis of our time.