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How much longer will it be before our arts companies are no longer run by artists?

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Dance, Musicals, News & Commentary, Opera, Stage, Theatre |

The acclaimed lighting designer Nick Schlieper delivered the 2017 Philip Parsons Lecture this week in Sydney at Belvoir Theatre. His address makes for sobering reading about the state of our state theatre and opera companies. Schlieper describes how an increasing reliance on box office, corporate sponsorship and philanthropy has led to safer, blander programming and fewer opportunities

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Muriel’s Wedding the Musical review (Roslyn Packer Theatre)

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Musicals, Reviews, Stage |
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Australia’s cultural cringe may well be at its greatest when it comes to our musical theatre. We certainly don’t have a strong history of championing and developing our own unique voices and talents, and our yardstick for measuring the quality of our work has always been international success. Muriel’s Wedding the Musical is a big, boldly joyous “screw you” to that notion

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Brigadoon theatre review (Arts Centre, Melbourne)

Nancye Hayes; Genevieve Kingsford; Rohan Browne
Musicals, Reviews, Stage |
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The best known song from Lerner and Loewe’s Brigadoon (the 1947 Broadway musical that is not all that well-known anymore) is Almost Like Falling in Love. This might be confusing to modern audiences. Almost like falling in love? So, it’s not the real deal then? Maybe if the song was called, Like, Almost Falling in Love it would make more

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The Production Company gives Brigadoon a Game of Thrones makeover

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Musicals, News & Commentary, Stage |

You have two and a half weeks to wrangle 22 musicians and 30 performers, create their costumes and construct a set that evokes the Scottish Highlands, circa 1717. Who you ‘gonna call? The non-for-profit outfit The Production Company, that’s who. Philanthropist Jeanne Pratt founded the Melbourne-based company in 1999. It’s dedicated to providing work for

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Miracle City review (Sydney Opera House, The Studio)

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Musicals, Reviews, Stage |
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Miracle City has taken a long road to its own promised land: the Sydney Opera House. The Australian musical, penned by composer Max Lambert and the late Nick Enright, started its life in a now legendary sold-out workshop staging directed by Gale Edwards at Sydney Theatre Company in 1996. The musical received a rapturous response and was due

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