The Ensemble Theatre’s intimate space is the perfect setting for this wonderful revival of a classic play, with a beautifully directed cast that simply couldn’t be better at delivering this enduringly funny and at times surprisingly moving material.

For a first play this is not short on ambition, tackling not only racism from an underrepresented angle, but also classism, misogyny, cultural specificity in a globalised marketplace, corporate culture, and the currency of outrage in the social media age.

  Baby Doll is an effective, if imperfect, re-adaptation of Tennessee Williams’ lesser-renowned material, via an intermediate film version.

A spectacular show in a suitably epic venue, all the stops have been pulled out for the Sydney recreation of the Royal Edinburgh Military Tattoo.

The most ambitious one-hander you’re likely to see with one actor portraying over thirty characters, director Kate Champion has given this crowd-pleasing play something of a timely facelift.

Given what an immense and perpetual global franchise Cirque du Soleil has become, it must be quite a challenge to keep coming up with new themes while still attempting to conform to a vague unifying style that maintains the brand.

The Last Wife is one of the best shows I have seen this year, creating an outstanding work of theatre from one of the most compelling family dramas of western history.

Light on narrative but bursting at the seams with scintillating style, this quintessentially sexy show is an absolute corker, even if it is a production that's over twenty years old.

This unapologetically irreverent musical, more in the vein of a spoof or even a roast, ridicules the Corbys and the attending media alike, giving them all a blast from both barrels. Its approach to the topic might work as a series of revue sketches, but as a feature-length show it requires further...

A View From the Bridge is a masterclass in acting and direction, and a sensational revival of a powerful play from one of the greatest modern American playwrights.