Review: Goodnight Sweet Prince (Sendfor Productions & Old Fitzroy Theatre)
A compelling chamber Hamlet probes grief and trauma while leaving much behind.
A compelling chamber Hamlet probes grief and trauma while leaving much behind.
Bayreuth invites Artificial Intelligence into the creative process. The result feels less like innovation than a dumping ground of overwhelming imagery.
Incoming and outgoing cohorts unite in a testament to the value of Opera Australia's Young Artist Program.
A 20-something Finn made his Australian debut with a national orchestra and closed out the evening as though he owned the place.
Danielle de Niese and the MSO keep the winter blues at bay with a showcase that aims straight for the heart.
Robin Tritschler's luminous Winterreise anchors an emotionally rich AFCM program of old and new.
Nathan Maynard's uncompromising drama interrogates history, identity and who belongs within Community.
Move over Jacqueline. New British cello supremo Sheku Kanneh-Mason’s Elgar is one for the ages.
Christian-Pierre La Marca takes the lead across a lush playlist with a stark environmental message.
An illuminating program uncovers the forgotten Bohemian influences shaping Haydn and Beethoven’s celebrated quartets.
Lucy Ansell shines in a production whose exceptional craft outweighs its narrative limitations.
Now in its third iteration, this cabaret-circus confection continues to shake its groove thang with its irresistible disco soundtrack.
Jack Liebeck and Piers Lane's musical chemistry and soulful shaping makes for a engaging, intimate and much appreciated recital.