Review: Bananaland (Sydney Festival)
Bananaland has a strong message, powerful moments, a sensational central performance – and room for development.
Bananaland has a strong message, powerful moments, a sensational central performance – and room for development.
The Sydney Festival gets off to a life-enhancing start with a work celebrating the wonder and resilience of the human spirit.
This is the perfect variety show for audiences wanting a sexy, fun night out on a summer's evening.
To witness Anna-Louise Cole's debut as Brünnhilde was something special – as was Chen Shi-Zheng's dazzling production.
Both traditional and innovative, this concert showcased what Chinese instruments in their modernised forms can do.
Richard Mills’s new opera reaches for the stars, but they don’t quite align for the outgoing Victorian Opera Artistic Director
Brett Weymark and the Sydney Philharmonia Choirs triumph in a high-altitude assault on Bach’s magic mountain.
Australian Haydn Ensemble shows how the young Haydn set out to impress the boss – morning, noon and night.
Paul Dyer and Australian Brandenburg Orchestra find the right mix for some fine but frugal Christmas fare.
A pared-down MSO and choir, but Messiah still sweeps its audience along in a tide of enthusiasm and vocal power.
A triple bill of adventurous artists proved a welcome reprieve from the inevitable demands of this time of year.
Trevor Ashley's latest adults-only panto goes under the sea for a raucous mash-up of a beloved movie and a cult TV series.
Through the wonders and shortcomings of technology, the legendary soprano makes her Melbourne debut 46 years after her death.