Melbourne Reviews

Details: Danielle Cummins; 01 July 2019

Wake in Fright is an extraordinary, at times unexpected and very confronting hour of theatre. It is the astounding physicality, vocal dexterity, sheer commanding stage presence of Zahra Newman that brings the people of this outback town to life.

Details: Doug Knight; 29 June 2019

Broken Romantics: A Unicorn’s Quest For Love | Emma Dean

Taking her all over Australia and far beyond, Emma Dean has been touring Broken Romantics: A Unicorn’s Quest For Love for the past two years, and despite being the alluring cover girl of this year’s festival, there was sadly only two opportunities to see this wonderful show.

Details: Doug Knight; 24 June 2019

Presenting iconic work is of course duplicitous. On one hand there is the hefty marketing potential of drawing upon a known commodity and on the other, an enormous capacity to disappoint. MTC have succeeded on both fronts.

Details: Danielle Cummins; 23 June 2019

Wunderage unfolds around, above and beside you, there are no lines of separation. It is a journey taken together. One that will leave you exhilarated, if not a little breathless.

Details: Doug Knight; 22 June 2019

Sweeney Todd: The Demon Barber of Fleet Street | TEG Life Like Company

This is without question another ‘born to play’ role for one of this country’s finest performers and genuinely leaves previously versions trailing somewhere far behind.

Details: Doug Knight; 21 June 2019

Opening Gala | 2019 Melbourne Cabaret Festival

Cabaret in Melbourne is thriving and each year, the genre receives a very healthy boost with a dedicated festival.

Details: Doug Knight; 06 June 2019

Escaped Alone | Red Stitch Actors Theatre

Heralded for her sharply observed social commentary and imaginative theatrical experimentation, Caryl Churchill has been prolific since her first work for stage premiered at London’s Royal Court Theatre Upstairs in 1972.

Details: Daniela Kaleva; 28 May 2019

The dominance of Michieletto’s visual approach is bold and naughty. It turns opera on its head. It does so as a bandaid for lack of spectacular voices, vocal virtuosity, understanding of Italian and acting skills.