Melbourne Reviews
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- Doug Knight
The interrogating police officers in Martin McDonagh’s The Pillowman ask some exceedingly graphic questions, and like the play itself, the journey to unravelling answers is abundantly confronting.
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- Simon Piening
This new production of The Wizard of Oz by Andrew Lloyd Webber retains all of the classic elements that anyone familiar with the 1939 film would hope to see, while subtly updating the story for a more contemporary audience and cleverly incorporating some visual wizardry of it's own.
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- Annika Priest
It’s a tumultuous cloud of life-changing decision that descends on many women as their 30s roll-out. To be a mother or not to be – that is the question?
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- Carol Middleton
The play pares down Peter Carey's Bliss to produce an entertaining three-hour show, with plenty of onstage shenanigans.
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- Lee Bemrose
It's difficult to determine who the real star is in this piece; the exquisite writing, or the equally perfect performance. That both are the work of the same person... truly impressive stuff.
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- Doug Knight
Described as a post traumatic play, Hungary Ghosts is both complex and challenging. While conscious in its use of multiple characters and threads, commentary on national themes does give echo to a central, more personal narrative around culture, loss, belonging, patriotism and identity.
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- Stephanie Johnson
In a one-woman one-hour show contemporary Australian playwright Hannie Rayson charms her audience with snippets from her life and her book, Hello, Beautiful!
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- Heather Bloom
Max Riebl, Melbourne’s favourite countertenor has done it again, bringing his latest baroque/pop mash up to the masses with Hard to Handel.
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Capturing the essence of its predecessor, Heathers The Musical is an absurdly comic production that doesn’t just walk the line of polite society but plans to blow it all up with reckless abandon.
It feels that the show hasn’t quite worked out what point it wants to make.