
This is the magic of Stephen House's writing. He gives a voice to the marginalised ones who don't have a voice, who are mostly invisible to us. He gives them their voice to tell their story, and lemme tell you, it's authentic stuff.

In This is Eden, Emily Goddard tells the story of her great great great grandmother, Sarah Ford, who was transported as a convict in 1837 and imprisoned in the Cascades Female Factory near Hobart.

Fifteen years after I first saw Cabaret and this wannabe Kit Kat Klub girl is as enamored as ever with Kander and Ebb’s score, Gale Edwards direction and flawless performances from the entire ensemble.

This was a show sung so beautifully I want to wish it were on a bigger stage, yet can’t believe it would have sounded as good when lacking the precious intimacy of this space.

One of Shakespeare's History plays, and the fourth longest in the entire canon, Richard III is a tricky piece and has the potential to just become a mass of talking heads coupled with bloody chaos.

Where The Lion King was an entirely original theatrical reimagining of the film, this stage version of Aladdin wholeheartedly embraces its cartoonish origins, and frequently resembles an extravagant panto.

This version of Swan Lake rocks the scale on the swan meter and delivers great bang for buck when it comes to the serene, precise beauty of swans en masse.
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