Review: 9 to 5 the Musical (Sydney)
The plot may be simplistic and cartoon-like but it's a feel-good musical with an important message, and the Australian cast delivers it in style.
The plot may be simplistic and cartoon-like but it's a feel-good musical with an important message, and the Australian cast delivers it in style.
This month Limelight explores electric instruments in classical music, and women and sexual violence in opera. We also interview Paavali Jumppanen, Artistic Director of ANAM, and explore Halévy's grand opera La Juive.
After a gruelling few years writing songs for Broadway musicals, Eddie Perfect is happy to be back on the boards in 9 to 5 the Musical, and has plenty to say about critics.
This month's features explore electric instruments in classical music, and women and sexual violence in opera. We also interview Paavali Jumppanen, Artistic Director of ANAM, and explore Halévy's grand opera La Juive.
There are a large number of musicals to look forward to this year, COVID permitting, from the well-known to the less familiar, with several new Australian musicals among them.
This is a silly play for the silly season, tipsily leaning to the left. If you go with the good intention to have good time, there's a very good chance you will.
Eddie Perfect reflects on negative reviews, critics, making it on Broadway and enduring COVID lockdown in his terrific cabaret show Introspective.
Belvoir programs an eclectic festival, the company's first repertory season featuring plays by Caryl Churchill and Alana Valentine, and a new panto by Virginia Gay to end the year in ridiculous, joyous fashion.
Artistic Director Alan Cumming unveils the full program for the Adelaide Cabaret Festival, describing it as his personal "cabaret love letter" to Australia.
The new Melbourne venue will offer eclectic programming from Kate Ceberano to Dustyesky to David Helfgott, with an immersive La Bohème on the horizon.
Michael Cassel, Benjamin Law, Trudy Dalgleish, Eddie Perfect, Simon Phillips and Ursula Yovich are among 11 industry leaders participating in the new arts mentorship program.
His score for the critically divisive Beetlejuice has seen him touted for Best Original Score.
While the Australian singer-songwriter’s second musical to open on Broadway in the last 12 months was dubbed “a scream” by Variety, the New York Post called it “a disaster”.