
It’s true: Lynch is edgy, politically incorrect and crosses “way” over the line more often than not. He isn’t afraid to test how far he can go and how far his audience is willing to follow him.

There are moments of radiant theatrical eloquence here, expressing the burden of a dead son, the loss of a cherished partner, of one’s country and the loss of one’s self.

The sold-out Miike Snow gig at Melbourne’s Hi-Fi Bar was charged with a palpable energy right from the word, “Yo!” uttered, of course, with the slight baritone twang of the Swedish accent.

Handel’s music is overwhelmingly beautiful. The highly structured and intricate nature of the notes sweep you away to a musical paradise where great stories are re-told and consequently re-born.

There is no mistaking Let The Sunshine as a David Williamson play. It has everything you’d expect: multitudes of witty one-liners, politics, clichéd female characters; and all set in that slice of Aussie life encapsulated by midlife crises and domestic turbulence.

Full of dazzling acrobatic displays, each dance is seemingly more difficult and technical than the last.