Just as the castaways need rescuing from an uncharted desert isle, so too do the cast and crew need rescuing from the disappointingly dull book and score of Gilligan’s Island the Musical.
Gilligan’s Island the Musical review
Melbourne Opera: Tristan and Isolde review
The delayed opening night of Tristan and Isolde proved well worth the wait, an evening of musical splendour that will live in the hearts and minds of those lucky enough to be […]
StageArt: Falsettos review
Perfectly suited to a boutique scale production, cherished Broadway musical Falsettos shines in this in intimate, meticulously directed new staging.
Priscilla Queen of the Desert review [Melbourne 2018]
Having been embraced upon the world stage, Priscilla Queen of the Desert makes a welcome return home for a tenth anniversary victory lap of Australia.
Everybody’s Talking About Jamie review
A joyful celebration of the power of embracing what makes a person special, Everybody’s Talking About Jamie is one of the most exciting new British musicals in a long time.
Matthew Bourne’s Cinderella review
Celebrating the twentieth anniversary of its creation, this pristine revival of Matthew Bourne’s Cinderella is a very welcome choice for Sadler’s Wells annual Matthew Bourne winter season.
The Royal Ballet: Giselle review [2018]
This performance of Peter Wright’s highly traditional production of Giselle brought a significant role debut, as young Australian Benjamin Ella premiered as Albrecht, which is the biggest role to date in his […]
The Woman in White review
With a focus on Andrew Lloyd Webber’s sumptuously melodious score, the new chamber-sized production of The Woman in White avoids the excesses of the original staging, allowing the gripping Victorian melodrama to […]
Royal Opera: Rigoletto review
The final performance of Rigoletto for the current season thrilled opera lovers around the nation and the world via cinema relay. Viewed live at the Royal Opera House, the performance had a […]
42nd Street review [London]
Everyone’s favourite tap dance musical is back on the West End, and, really, shouldn’t 42nd Street always be playing somewhere in the world at any given time?
Man in Chair 