Review: Wake in Fright (Malthouse Theatre)
Zahra Newman single-handedly conjures a powerful tale of masculine self-destruction in the outback.
Patricia Maunder has been an arts journalist since the 1990s, interviewing the likes of Sir Andrew Davis and Renée Fleming, and contributing to publications such as The Age and Opera (UK). Based in Melbourne, she’s passionate about opera, theatre and anything Baroque.
Zahra Newman single-handedly conjures a powerful tale of masculine self-destruction in the outback.
Rossini’s grand musical showcase finally makes its Australian debut in suitably lavish, comic style.
Great music and visuals save David Bowie’s existential musical from total alienation.
This ambitious dive into the Australian psyche struggles with the novel’s epic complexity and mystery.
A well cast rollercoaster ride through this Australian classic’s pathos and black comedy.
This production turns an unremarkable musical about the great showman into entertainment.
The young cast sure can dance, but lacks the dramatic chops to sell this dark tale.
A star is born in this clever adaptation of a beloved Australian film.
Ellen Burstyn and a high-calibre Australian cast explore life, death and Beethoven.
The photographer and actress’s real-life encounter becomes a tantalising cocktail of truth and fiction.
A musically excellent, perceptively designed and directed production of Wagner’s final opera.
Britain’s renowned Baroque ensemble cut to the musical chase of Purcell’s semi-opera, with beautiful if not Arthurian results.
The indomitable Miriam Margolyes shines as the real-life vagrant who lived in playwright Alan Bennett’s front yard for 15 years.