Tim Winton's play Rising Water is set across the decks of three yachts that symbolise the loneliness and independence of their inhabitants. The set is brilliant, the acting top-notch and the script is hilarious, writes Suzannah Marshall Macbeth.
Franz Lehar's operetta is naughty and playful, a hand-me-down story of a wealthy widow from a tiny nation, writes Lloyd Bradford Skye.
The Sydney Theatre Company's new production of Lorca's Teflon-coated classic Blood Wedding certainly has visceral ecstasies and powerful performances but its lack of cohesiveness is an issue, writes Lloyd Bradford Skye.
Silent Disco is an edgy, almost angry representation of modern teenage life, littered with sharp-witted wisecracks and the promise of potential, both in the script writer, set designer and the actors themselves, says Siobhan Argent.
It might be grossly impertinent to say so, but David Williamson could learn a lot from Tom Holloway’s And No More Shall We Part, his new play at the Griffin Theatre in Sydney, says Lloyd Bradford Syke.
Having big-time veteran Australian film director Bruce Beresford at the directorial helm of opera Of Mice and Men piqued the interest of Lloyd Bradford Syke.
He’s been dead for almost 400 years, but Shakespeare still knows how to work a dastardly revenge tale with the Melbourne Theatre Company’s latest rendition of Hamlet, writes Siobhan Argent.
This spiffing, shiny new production of La bohème from Opera Australia is quintessentially Italian and romantically sublime, writes Lloyd Bradford Skye.
Australian comedian Judith Lucy talks to Matt Smith about her upcoming show Judith Lucy’s Spiritual Journey, a show in which she examines the big questions in life.
Contemporary dance has never been the most popular kid in the performing arts schoolyard. But Nederlands Dans Theater suggests modern dance may be making a comeback, writes Katie Weiss.
