It's been 25 years since Andrew Lloyd Webber put his stupidly successful Phantom of the Opera inside our minds. Critics will use its sequel Love Never Dies as a blunt instrument to beat him with, and not entirely undeservedly, writes Jason Whittaker.
Dancer and choreographer Dean Walsh describes Fathom as a performing arts experiment. It is a stimulating and thought provoking production, writes Lloyd Bradford Skye.
Sleepyhead is a convincingly horripilant piece of Australian gothic from Nathaniel Moncrieff. MKA has assembled a really strong team which puts the writing front and centre, writes Andrew Fuhrmann.
Sydney Theatre Company’s new co-production, with Malthouse Melbourne, of Bertolt Brecht’s Baal is akin to the gulf wars waged by American imperialist forces: lots of shock and awe but little material result, writes Lloyd Bradford Skye.
A musical about bipolar disorder? Next To Normalis an unswervingly honest piece of Pulitzer Prize-winning theatre. But miscasting blunts the power of this Melbourne Theatre Company production, says Jason Whittaker.
Greg Fleet’s new show has the atmosphere of a family slide night – minus, of course, the mind-numbing boredom, writes Michelle McLaren.
Canadian comedian DeAnne Smith cuts an edgy path through comedy that even if you can’t relate to, you can’t help but find appealing, writes Matt Smith.
There are moments of amateurism in director Kate Gaul's new production of Shakespeare's As You Like It but there are also plenty of fresh ideas -- way more than enough to make for a thoroughly enjoyable experience, writes Lloyd Bradford Skye.
Nobody can teach people how to create jokes, but a basic knowledge of comedy's many styles and techniques provides a valuable foundation for audiences and comics. Comedian Bec Hill whips out the whiteboard for Comedy 101.
Opera Australia's new production of Shakespeare's murderous morality tale of political and personal betrayal is an opera so unrelentingly dark you have to squint to make it out, writes Jason Whittaker.
