Schumann’s redemptive symphony provides a handy warm-up for SSO’s Himalayan Gurrelieder trek.

Three disparate works which, despite differences in scale and style, beautifully highlight the relationships between soloists and orchestra.

A country footy club becomes a microcosm of Australia in this energetic, funny and discomforting play about racism.

Superbloom is a sterling test of ensemble skill, versatility and musicianship – and of the listener's appetite for challenge.

This witty jukebox musical, which uses the songs of Max Martin, gives Shakespeare’s Juliet a second chance at life.

A physical, fast-moving staging of Shakespeare's comedy but one that seems reluctant to allow laughter at the expense of its characters.

Barrie Kosky’s brilliant makeover of Brecht, Weill and Hauptmann’s flawed masterpiece leaves you wondering how it could be performed any other way.

The shadow of the folk-horror genre hangs over UK playwright Rob Drummond’s Grain in the Blood - but not too heavily.

A delightful and heartfelt musical journey, Divine Alchemy was a fitting start to Southern Cross Soloists’ 2024 season. 

In Sarah Hennies’ novel solo work, Synergy Percussion asks you to listen to what’s not being played, rather than what is.

Lab Kelpie’s latest production, Every Lovely Terrible Thing, excels in the campy juxtaposition of humour and horror.

Rear Window meets Cabaret in this joyous and sometimes achingly romantic exposé of desire, intimacy and love.