Review: Happy End (Victorian Opera)
A welcome revival of Weill and Brecht’s follow-up to The Threepenny Opera.
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.
A welcome revival of Weill and Brecht’s follow-up to The Threepenny Opera.
This neo-noir story jumps between decades but doesn’t take flight as theatre.
A rich, authentic adaptation of the short story made famous by Streisand’s musical movie.
This ferociously funny satire reveals uncomfortable truths about white privilege.
A Sri Lankan-Australian playwright drops some awkwardly funny truth bombs.
It's third time lucky for the long overdue Australian premiere of the classic rock opera.
Why Finnish concert pianist Paavali Jumppanen was drawn to ANAM.
Melbourne’s opera year begins with an impressive second instalment of Wagner’s Ring Cycle.
Sarah Goodes directs this intimate new play about three generations of women.
This play dares to climb a mountain, but stumbles over life’s big questions.
Colourful, quirky, energetic and fast-paced, this Comedy of Errors is an enjoyable romp for most ages.
The MSO Chorus returns, bringing joy to the end of a diabolical year.
Low on laughs, this intentionally farcical musical-meets-cabaret is lost at sea.