Although pandemonium was the theme, the chaos was meticulously planned and Meow Meow was well in control of this performance – even with the Adelaide Symphony Orchestra along for the ride.
Umberto Clerici, the QSO's Chief Conductor-to-be, struts his stuff in a supremely confident orchestral showcase.
Not seen for over 120 years, this meticulously reconstructed ballet offers ample colour and charm but lacks freshness.
This beautiful production is a clear sign that the future looks good for the Australian ballet scene.
Christie Whelan Browne plays eight diverse characters in this funny and insightful cabaret.
This entertaining, unbuttoned gig by soprano Eva Kong and jazz singer Asabi Goodman showed how enjoyable music making can be.
However he does it, this show by mentalist Scott Silven is baffling, brilliantly performed and hugely entertaining.
This concert delivers the sounds of Vienna with splendid playing, a unique sound and winning repertoire. Pass the Sachertorte please!
Two superb song cycles by Katy Abbott and Linda Kouvaras formed the core of this concert, both important works that deserve to receive stage time long into the future.
Joanna Murray-Smith and director Mark Kilmurry have combined to re-invent A Doll’s House in a way that honours the original while also fashioning a play for today.
Catherine Alcorn and Phil Scott are consummate performers – and the songs are great – but this show didn't quite gel on a conceptual level.
Blending new and old works, this versatile program was given a superb performance; it was a shame that some of the audience weren't able to see the musicians.
Lots of interesting questions were raised by this 'opera' in Melbourne's Fed Square, but the execution was imperfect – and Melbourne's weather certainly didn't help.
