Melbourne Reviews
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- Hayden Burke
If you like your comedy on the darker, self depleting side then this gig should be on your comfest itinerary.
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- Stephanie Glickman
The hour roars along at a steady pace. Nothing drags it down and Britton is in top form from go to woah.
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- Jane Canaway
For all her cynicism and cutting social commentary, there’s a delightful, sweet quality to Coombs Marr’s humour, which is peppered with cute dad jokes and puns.
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- Jane Canaway
It seems surreal that Frank Woodley has been playing the manic irritant to Colin Lane’s frustrated straight man since the mid 1980s – which is probably when half their current audience was born.
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- Jane Canaway
It’s hard to watch Geraldine Hickey without (a) laughing and (b) mulling over words like ‘laconic’ and ‘laid-back’.
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- Jane Canaway
Master of the deadpan, harsh host of Hard Quiz, and heartless interrogator on Hard Chat, making audiences squirm as much as his victims – Tom Gleeson uses blunt-force trauma as his comedy schtick.
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- Hayden Burke
Many comedians have been delving into personal struggles on stage, revealing truth and darkness which in turn, evokes both tears and laughs from the audience. This is not one of those shows.
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- Jane Canaway
It doesn’t matter how much you know or care about the legality of the Essendon Football Club supplements program in 2013 – it won’t stop you enjoying this original and entertaining saga, because Kit Richards has a talent for making otherwise dull stories fun and interesting. And for writing damn good songs.
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At 11.50am on October 15 1970, 35 men fell to their death as their place of work gave way from under them.
Heathers The Musical
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This Glass Menagerie is top shelf, and while blessed with an extraordinary cast and the highest of production values, it will not meet with everyone’s measure of how this play should be staged.
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Quirks of the source – and of the environment that sustains it – are cleanly exposed in a high-energy hour of physical comedy, delivered with moments of avian grace.
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It feels that the show hasn’t quite worked out what point it wants to make.
Suzie Miller’s award-winning one-woman play, Prima Facie returns to Melbourne for a limited season.
The script is based on a true story, although this dramatisation can feel somewhat contrived, with important assertions not interrogated, and credibility stretched as a result.