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Performances & Gigs

Wagga Wagga Civic Theatre

Mamma Mia! The Musical

Over 60 million people worldwide have fallen in love with the characters, the story and the music that make Mamma…

New South Wales

18 Feb - 26 Feb 2022
1 … 6 7 8

Reviews

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Tomáš Kantor, a curly-haired 20-something person dressed in non-traditionally gendered clothing, in the 2026 Midsumma production Sugar at Arts Centre Melbourne.
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Sugar review: a frothy, fun and fearless Midsumma treat

This whirlwind production works Chappell Roan into Pretty Woman by way of Tomáš Kantor’s commanding queerness.

Stephen A Russell

Jan 16, 2026
The Importance of Being Miserable: cover art and author Eamon Evans. Evans is a fair skinned 30-something man with blonde hair, wearing a dark blue tailored jacket over a black t-shirt, and holding up a blue texta in his left hand.
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The Importance of Being Miserable review: a bracing antidote to happiness culture

Equal parts cultural history and philosophical takedown, The Importance of Being Miserable finds humour, clarity and unexpected hope in life’s…

Bridget Ross

Jan 15, 2026
A scene from Hamlet Camp, now playing at Carriageworks. Three fair-skinned, middle aged men dressed in white, are photographed in the midst of an intense performance.
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Hamlet Camp review: 'To be, or not to be' as an occupational hazard

Quick, funny, and uncomfortably human, Hamlet Camp drags you into a world where art won’t let go, and neither will…

Malavika Nair

Jan 14, 2026
Julia Phillips' Observer, Observed at Sydney Festival 2026. A man ion a white Terry Towling hat peers through a pair of bespoke binoculars, which form part of the artwork.
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Observer, Observed review: public art about public surveillance for Sydney Festival

Julia Phillips’ art installation on Pyrmont Bridge encourages us to reflect on our willingness to participate in the surveillance state.

Solomiya Sywak

Jan 14, 2026
A dance sequence from Post-Orientalist Express, 2026. A shirtless male dancer poised on one foot with his arms extended; he wears a colourful headdress and costume.
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Post-Orientalist Express review: spectacle, parody, and the limits of post-orientalist dance in a festival economy

A fascinating but unresolved Sydney Festival production by avant-garde Korean choreographer Eun-Me Ahn.

Carielyn Tunion

Jan 14, 2026
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