Robinson is no diva. She makes no claims for stardom, but borrows the light of stars. Her modesty is part of the magic. She is able to disappear and reappear in an instant, each time recreating a diva with a distinct voice, character and tormented history: drugs, alcohol, an early death and other tragedies.
The most recent Australian production lives up to the high standard set by previous incarnations, the razor-sharp choreography and execution (pardon the pun) is some of the slickest I’ve witnessed on the Australian stage.
This annual Christmas program of the Brandenburg Orchestra has become a popular event in Sydney and Melbourne. It offers a refined musical experience of the centuries-long traditions of Western art music that celebrate the birth of Jesus.
Farnace, Vivaldi’s personal favourite among his operas, and one of the most popular in his own time, was given its Australian premiere last night by the wonderful outfit that is Pinchgut Opera.
When a much anticipated, professional production of a familiar and famous musical hits town, there is a buzz in the air, and the eager aficionados turn out in eager droves for the opening night.
The Ensemble Theatre’s intimate space is the perfect setting for this wonderful revival of a classic play, with a beautifully directed cast that simply couldn’t be better at delivering this enduringly funny and at times surprisingly moving material.
As a space that facilitated the military training of young men from the Footscray community who were then sent to faraway battlefields, The Drill now fills this space with contemporary circus, theatre and music. There is historical reimagining of the impact of their leaving, a reimagining through a feminine lens.