Jack Thompson is impeccable -- a model of clarity and measured projection -- in Kip Williams' stunning semi-musical adaptation of Dylan Thomas' seminal play, writes Lloyd Bradford Sky.
Aside from the smoke machines, flame throwers, knickers and beards, Eurovision offered plenty to be engaged by -- including choice of language and the linguistic quality each performance, writes Lauren Gawne.
Despite the hype surrounding its opening, the MTC's The Heretic isn't actually about climate change. It's a domestic comedy -- and a rather confused and skittish one, writes Ben Packer.
Midnight Son's inspiration, the grubby Melbourne murder of Maria Korp, ticks the box marked "controversial new work". But, asks Ben Packer, why should this story be retold as an opera?
Authored by the same writer who penned the book's film adaptation, the new stage show of An Officer and a Gentleman is the kissing cousin of the flick, solid but unspectacular and with some sparkling vocal talent, writes Lloyd Bradford Syke.
At London's Shakespeare Festival the plays of Billy S have been translated into many languages, including -- wait for it -- Hip Hop. Lauren Gawne was there, with her hands-up-in-the-air, absorbing some mean rhymes and high-fiving the performers.
The Malthouse Theatre have given independent production company Four Larks an opportunity to spread their wings in a sort of medieval version of Footloose, writes Ben Packer.
Why are there so few women in Australian theatre? In this special Cup of Tea, Ben Eltham and Rebecca Harkins-Cross examine the gender bias that still pervades the Australian performing arts
The 2012 recipient of Crikey's annual 'Best of the Fest' award -- for the best show at the Melbourne International Comedy Festival -- has been declared: Andrew McClelland for his terrific rib tickler One Man Stand. Matt Smith reports.
Unapologetic about appearing on the stage twenty minutes late, music parody act The Axis of Awesome comfortably settled into a show taken from their cookie-cutter template. It was one fans could feel OK about missing, writes Matt Smith.
