One of the defining features of Wilde’s plays is their endlessly quotable dialogue, and the cast clearly relish their lines.
This may be one of the first Australian musicals that I’ve really, genuinely enjoyed. Americans can get away with the absurd cheesiness that tends to go along with the genre, but it usually seems completely anachronistic in Australian theatre.
Cullen’s play masterfully demonstrates just how little has changed since Henry Lawson began to explore Australian nationalism in the late nineteenth century, but far more than that; it tells the moving story of one of Australia’s favourite sons.
Growing old gracefully - that’s got to be a cliché up there with ‘can’t teach old dogs new tricks.’ Fact is, both of those statements are wrong, as proved by the insightful play Codgers, which is like watching a wise man’s fireside tale come to life.
Black Brass is a play, personal and political, told through music and song that spans continents, colonisation and culture, and all the complexities that encompasses.
Even though Jagged Little Pill – The Musical is based on the album of the same name, it is as far from a “jukebox musical” as anything could be.
Triple X is based on Glace Chase’s life experience and there is no doubting the raw honesty in the writing and her performance as Dexie.
Based on Antoine de Saint-Exupéry's universally adored and admired book, The Little Prince is a light and sound phantasmagoria augmented by aerial and acrobatic choreography.
There is nothing I could write that would convey the unbridled enthusiasm of the Opening Night audience at Priscilla, Queen of the Desert.