Hazem Shammas in Trustees: his powerful incantations towards the end of the production will leave you reeling.
This production, a collaboration with local theatre artists, stages a public debate hosted by the (made up) Melbourne Trust Forum. It unfolds as part media reportage and part gameshow.
Barry McGovern in Watt.
Samuel Beckett wrote Watt while hiding from the Gestapo during the second world war. It describes Watt’s journey to, within, and away from Mr Knott’s house, where Watt lives for some time as a servant.
Romy Vager performs during the concert at Melbourne’s State Theatre on Saturday night.
Some of Australia's finest songwriters joined members of the Go-Betweens to mark the 30th anniversary of a seminal album.
Naturalistic dialogue, poetic monologues, projections and physical theatre come together in Man With The Iron Neck.
Legs On The Wall’s production deals with the important but taboo topic of youth suicide, particularly in the Indigenous community.
Detail from Father of the Innocents, from the series, Mandela A Life’s Journey, by John Meyer.
The desire to eulogise, as often appears to be the case in this exhibition, does not allow space for questions that might allow for a fuller explication of the nature of Mandela’s legacy and its relevance beyond South Africa.
Patricia Piccinini, Graham, 2016 Installation view,
A new Science Gallery Melbourne exhibition offers a set of reflections, calculations and speculations that engage with ideas about the perfect body, mathematical precision, quantum physics and a post-human world.
In Steven Sewell’s play, two physicists search for ‘truth’.
Stephen Sewell's play questions truth, humanity and what constitutes our individual and collective worlds.
Stuart Skelton in the title role of Peter Grimes.
Benjamin Britten’s Peter Grimes premiered in 1945, when the composer was 31. The work can be seen as an examination of the individual versus the community and the sinister potential of the collective.
Performers in Circa’s En Masse.
The incredible physical control of the Circa acrobats, and their ability to make bodies seem weightless, is breathtaking.
Maeve Marsden and Libby Wood in Mother’s Ruin.
This cabaret show about a beverage incorporates politics, feminism, history and some rousing singalong numbers.
Vicki Van Hout in plenty serious TALK TALK.
Two new dance works allow the public to engage in a conversation around constitutional recognition and sovereignty for Indigenous peoples.
David Woods and Eloise Mignon in the Malthouse’s production of Blasted.
Photo Pia Johnson
The central journey in Blasted is not a tourist trip through extreme violence. It's the emotional journey of a bully who learns to be grateful for small acts of kindness.
Constance Wu and Henry Golding in Crazy Rich Asians.
Crazy Rich Asians is good for Asian-Americans but not great for Singaporean or broadly Asian politics.
Gary Cooper as Uncle Harvey in Skylab. He offers a powerful performance as a man consumed by anger concerning the past treatment of his people.
In 1979, the American satellite Skylab crashed in Western Australia. A new play imagines what happened to an Aboriginal family nearby.
Damian Hill plays Jim, a dad looking after his son.
West of Sunshine takes place over a single day, following Jim, a courier of increasingly dangerous sorts, as he delivers packages across Melbourne.
Marcello Fonte stars as Marcello in Dogman.
In this grim and often bloody tale of dog-groomer Marcello, the canines steal every scene they are in.
Nicolai Khalezin in Generation Jeans.
A pared-down, humorous and intimate monologue, this production explores the human dimension of a political movement. It is a challenge to tacit silence and collective amnesia in Australia also.
Fans await the arrival of boyband One Direction at Sydney Airport in 2012.
Like a good pop ballad, I Used To Be Normal is energetic, colourful and masterfully anchored by a deep and earnest sentimentality.
Adam Driver as Toby AKA Sancho, and Jonathan Pryce as Javier AKA Don Quixote, in The Man Who Killed Don Quixote.
Plagued by production woes for 25 years, The Man Who Killed Don Quixote embraces the spirit of its 17th-century source material. But unlike de Cervantes, Gilliam uses the female characters as props for the hero’s story.
Photogenic Drawing, 2017,
installation view, Sydney Contemporary, Carriageworks.
Photo: Nick Kreisler Courtesy of the artist and Hugo Michell Gallery, Adelaide
The 2018 Tarrawarra Biennial explores the act of creation itself, dissolving boundaries between mind/body, physical/spiritual, and form/content. But the experience in the gallery is sometimes something of an anti-climax.