Melbourne Reviews
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- Liza Dezfouli
Blood on the Dance Floor mashes dance, story-telling and video, using the metaphor of blood to reference both HIV infected blood and indigenous blood.
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- Vito Mattarelli
It is always difficult viewing a production which arrives with headline banners telling us how good it is. Expectations can be high, and if not achieved, can leave an audience disengaged. Blonde Poison could have achieved much more, with less fanfare.
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- Lee Bemrose
Andi Snelling's one woman show #DearDiary has been doing well at various arts festivals since Melbourne Fringe last year, and seeing her opening night performance at The Butterfly Club, it's easy to understand why.
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- Diane Stubbings
Paul Capsis is a national treasure, and anyone who saw his solo piece Angela’s Kitchen will know he can carry a show. He is, purely and simply, the best thing about this production.
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- Vito Mattarelli
The music has always been what people remember and want to hear, so it's little wonder that concert versions have proved popular around the world, and kept this gem of a show alive.
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- Liza Dezfouli
O’Neill pays homage to her father, an Alzheimer’s sufferer, and ties in the above with stories of her ancestor Owen Roe, who led a rebellion against the English in the 1640s, as well as stories of her romantic life and motherhood.
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- Catherine Della Bosca
Ladies and Gentlemen. No dance experience necessary. Must revel in a sense of community and be prepared to find themselves in an engine room for romance. House Band, Meat Tray and Supper on offer. Emcee, “Mints Bitch” and “Bellboy” included in ticket price.
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Now playing Melbourne
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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.