Whoopee baby! Thoroughly Modern Millie returns in a splashy, starry staging that distils the very essence of musical comedy into an evening of unabashed joy.
Offering the pure joy of musical theatre at its unadulterated best, Come from Away is a breathless celebration of the finest qualities of humanity.
An Off-Broadway show with the nerve to charge Broadway prices, the “Bard Summerscape Production of” Oklahoma! plays out like a cynical practical joke on theatregoers. The egregious experiment is a blight on 75-plus years of American musical theatre.
A truly spectacular spectacular, Moulin Rouge burns through the budget of a hundred musicals, all in the quest for extravagant entertainment.
Pure escapist fun, new Broadway musical Beetlejuice runs high on daffy hilarity with an irresistible undercurrent of snarky wickedness.
Storm Boy is theatre for children and yet it is not children’s theatre. As memorable family entertainment it is very hard to beat, with the additional benefit of possibly inspiring follow-up conversations on deeper issues.
The Australian Ballet heads straight back down the rabbit hole, returning award-winning 2017 hit Alice’s Adventures in Wonderland to the Melbourne stage for a very welcome encore season.
Lazarus is unlikely to appeal to lovers of traditional musical theatre, but for those seeking theatre with an edge the production more than lives up to its tantalising promise.
Intelligently conceived and handsomely staged, David McVicar’s production of Così fan tutte matches elegance and wit with the simple pleasure of Mozart’s heavenly music.
Verdi’s richly melodious tragedy glistens again as Opera Australia returns its much loved Moshinsky staging of Rigoletto to the Melbourne stage.
Given the resources regularly lavished on revivals of international classic plays, this season of modern Australian classic Così is as welcome as it is deserving.
An all too rare independent musical theatre production, the new Australian staging of Barnum sees Todd McKenney embrace the chance to play iconic huckster P. T. Barnum.
Opera Australia complements their dazzling new outdoor production of West Side Story in Sydney with the return of this traditional staging to Melbourne, differentiating the casting by showcasing a new generation of fresh young triple threats in this (indoor) Australian tour.
Imaginatively conceived, ingeniously written and lavishly produced Muriel’s Wedding is surely the most impressive original musical ever created in Australia. Brimming with imagination, inspiration and joy, Muriel’s Wedding is compulsory viewing for all lovers of musical theatre.
A brilliant choice for the first musical to be presented as the annual Handa Opera on Sydney Harbour, West Side Story is given lavish, large scale treatment in what is essentially a highly respectful, traditional production.
As witty as it is romantic, the Australian Ballet’s characterful production of Cinderella makes an unplanned yet very welcome return visit to Melbourne, showcasing the glorious partnership of married principal artists Ako Kondo and Chengwu Guo.
Stripped raw and utterly lean, the new Melbourne Theatre Company production of A View from the Bridge thrives on the strength of its compelling characters and elegantly spare language, hurtling towards its shocking, yet inevitable climax.
Newcomers to Jersey Boys are sure to enjoy the memorable music and terrific stage talent. Those who have seen the show (possible more than once) may be harder to coax back, but the performance of Ryan Gonzalez is certainly a compelling attraction.
Far from a mere indulgence in nostalgia, or, worse, a cynical money grab, Harry Potter and the Cursed Child is a compelling, amusing, intriguing and affecting play, featuring ingeniously creative staging that surpasses what could previously be described as world class.
In presenting this long overdue Melbourne premiere season of Parsifal, Victorian Opera gives Wagner’s final opera an intelligently conceived, splendidly-performed production.