53 Results

Don Quixote emerges as about the most fun a dancer or dance devotee can have with tights on, or admiring them. It’s old and new from the Australian Ballet.

Nick Dear’s Frankenstein is perhaps closest to Mary Shelly’s original vision as anything else. And now Sydney audiences can see the National Theatre smash.

What’s Todd McKenny doing on the opera stage? It’s all the fault of Jonathan Biggins and Phil Scott, who got up to no good in the Opera Australia workshop. Luckily there’s plenty of laughs.

Is The History Boys really a good play? Our Sydney critic has his doubts. And John Wood as Hector, in this Sydney Opera House production, didn’t convince him.

Giuseppe Verdi has rarely seemed more alive than in this startling new production, a world premiere via Opera Australia. A pretty score gives way to truly dark, truly contemporary, ideas.

Australia just can’t get enough of the death-defying hijinks of this bawdy circus-inspired act. An extended season at the Sydney Opera House has plenty of return business — even our critic.

Choreographer Stephen Baynes wisely doesn’t mess with a classic in The Australian Ballet’s 50th year. But this new production is oddly devoid of passion.

In the Australian Ballet’s 50th year, a look back at three works that defined the company’s charter. It’s the fruits of the labours of our best and brightest stage artists.

Celebrated novelist Tim Winton’s second attempt at stage writing might be too subtle for some. But it’s unmistakeably Winton, if that’s your thing (it’s ours).

Jean-Baptiste Poquelin. You probably know him better as Moliere. He was very nearly a contemporary of Shakespeare, coming hot on the Bill’s heels, around six years after the Bard shuffled off this mortal coil. It hardly needs to be said that Moliere, an actor as well as writer, was (and is) to comedy as Shakespeare [...]