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Tarzan – The Stage Musical review: one for the Melbourne swingers
Tarzan excels is in the calibre of its cast and the dynamic presentation of Phil Collins’ score.
All the Way to the River review: Elizabeth Gilbert gets personal again
All the Way to the River chronicles Gilbert's decades-long friendship and romance with Rayya Elias.
O,D, E review: Sage J Harlow's experimental opera about Orpheus & Eurydice thrills
O,D,E, based on the Ancient Greek story of Orpheus and Eurydice, is a treat for the soul.
The Object Lesson review: Thomas Demand's AGNSW exhibition absorbs
The Object Lesson at AGNSW places Demand in the role of a curator instead of highlighting his own works.
The Magic Flute review: a first-of-its-kind opera collaboration in Adelaide
State Opera South Australia’s The Magic Flute is opera for our times.
No Dancing in the Lift, Mandy Sayer review: a vivid memoir
Sayer's No Dancing in the Lift paints an intimate portrait of an unconventional childhood.
Speaking in Tongues review: Bovell's script comes alive in Black Swan's hands
Speaking in Tongues by Black Swan somehow manages to be funny, serious, flippant and profound.
Ryoji Ikeda review: 2025 Now or Never’s spirit captured in this sonic-visual masterpiece
Blinding light and digitally synthesised ‘noise’ rattle the body and open a portal to another universe.
The Wolf Who Cried Boy review: Mark Mupotsa-Russell’s heart-wrenching second novel
A six-year-old child’s reality blurs with fantasy in The Wolf Who Cried Boy.
The Farm review: Jessica Mansour-Nahra’s page-turning gothic thriller
Jessica Mansour-Nahra's The Farm poses troubling questions about the cycle of domestic violence, motherhood, and female bodily autonomy.
