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.
The musical theatre adaptation of a 1980s cult cinema classic returns for another murderous round of high-school misfits versus mean girls and jocks.
Less is more in Suzanne Chaundy’s new production of a play about the Port Arthur massacre’s aftermath.
Michael Nyman’s chamber opera about a man with a curious neurological condition makes a rare appearance for its 40th anniversary.
With a fine cast and design that’s a triumph of simplicity, this new play reminds Melbourne of the tragedy behind its largest and busiest bridge.
Many arts organisations are now offering a range of accessible options from tactile tours to Auslan-interpreted and relaxed performances.
Playwright Jean Tong delivers a gently satirical exploration of the workplace and heartfelt representation of an unlikely friendship.
Indigenous women are front and centre in this meditative play about relationships with family and Country.
The very model of a modern Gilbert & Sullivan production: nostalgic yet fresh and funny, with cast and orchestra on song.
Tomáš Kantor oozes talent and charisma in this cabaret one-hander about the misadventures of a novice sugar baby.
Adelaide’s contemporary circus troupe Gravity & Other Myths offers a glimpse of what it takes to achieve perfection in an awe-inspiring hour of power.
A recent little indie theatre hit about the hateful online “manosphere” returns, bigger but not better as the new, longer script dilutes this play’s impact.
Performed outdoors, this comic pastiche of several plays by The Bard becomes increasingly frenetic, farcical and unfunny.
This Broadway musical looks lovely but is bogged down in details, dreary songs, underwritten characters and perfunctory romance.
