He's played a French planter in the South Pacific and now he'll play the King of Siam in another Rodgers and Hammerstein hit. But is the "colour-blind casting" of Kiwi baritone Teddy Tahu Rhodes OK?
With no rehearsal, a different actor each night, and a script waiting in a sealed envelope on stage, White Rabbit, Red Rabbit is a powerful, worthwhile theatrical experiment.
Caroline O'Connor, perhaps the rightful holder of the First Lady of Musical Theatre mantle, stars in Gypsy, the great American musical. The Production Company breaks its usual mould with a solid mounting.
The Crucible is not funny. Yet the opening night audience laughed their way through all four painful acts of Melbourne Theatre Company's take on the previously unwreckable Arthur Miller classic.
Solomon and Marion is the MTC play Jacki Weaver infamously pulled out of to do a CBS sitcom pilot. Hollywood's gain is definitely not Melbourne's loss; Gillian Jones steps into the shoes Weaver never tried on.
The prolific Joanna Murray-Smith does meet-the-mother-in-law farce with her new play True Minds. Can she wring new blood out of a long-sapped comedy stone?
The new Melbourne production of Stephen Sondheim's Assassins has its problems, but with a stellar cast and faultless material it's still worth a look.
Music is one of Melbourne Theatre Company's more tuneful endeavours this year. Playwright Barry Oakley is welcomed back to the stage with warm applause.
Across the road from Stephen Sondheim's A Funny Thing in Melbourne, a new all-Australian musical from John-Michael Howson. To be on the same block is an insult.
There's no reason why Stephen Sondheim's first Broadway hit should work 50 years after it premiered. And yet -- with Simon Phillips and Geoffrey Rush at the helm -- it does.