Not a lot of spontaneity seemed permitted in the on-stage conversations, but this piece about disability, diversity and understanding brims with kindness, compassion and resolution.
The Australian premiere production nurtures this novella-like play’s intimacy and intrigue.
The Lysicrates Prize-winner finally makes it to the stage, with something serious to say about contemporary life and mores – which it does with wit, excoriating humour and insight.
Pinchgut’s sumptuous production of Orontea – with its quartet of feisty females – is sparkling entertainment.
The musical is as practically perfect as the beloved nanny herself, and explodes from the stage with colour and joy.
An enjoyable confection of songs and visual treats with a story tweaked for the 21st century.
Despite strong performances and some moments that really land, this show makes one wonder – why stage this play in Australia at all?
Great Italian bass Ferruccio Furlanetto shines in this concert performance of a Faustian obscurity by Arrigo Boito.
Despite a few last-minute COVID upheavals, this unique festival showcased some ingenious programming, including two impressive new works by Andrew Ford and Anne Cawrse.
This festival is an extraordinary achievement in improving accessibility to opera and the arts more broadly.
This was a delightful concert despite challenging circumstances, one that showed the depth of repertoire by female composers in a gender-equal program.
Review: Austrian Encounters (Australian Boys Choir, The Vocal Consort, Australian Romantic & Classical Orchestra)
A neglected choral gem by Papa Haydn’s younger brother gets its first performance in 250 years, and what a magnificent piece it is.
This TSO concert was a celebration of our differences, our similarities, our histories and traditions.