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.

The Force was with Adelaide Wind Orchestra for its survey of the movie maestro's greatest music.

Yeol Eum Son's consummate technique and passion matched at every step by the TSO in its season-opening concert.

A Cadillac-smooth ride through a century and a half of American history distilled into the story of one of its rags-to-riches epics.

Making the most of a spectacular setting, Stephen Page’s first work since leaving Bangarra is surprisingly intimate given its grand scale.

Rustic humour gets caught up in existential anxiety in this two-hander loaded with talent.

Presented in Australia for the first time, Robert Lepage’s puppetry-based staging of Stravinsky’s short works is as brilliant as ever.

A marvel of stagecraft, Mario Banushi’s semi-autobiographical meditation on grief is as poetic as it is horrific.