Arts Centre Melbourne

Here's a guaranteed way to not cure your fear of flying: step inside a plane cabin recreated inside a 40-foot shipping container, don a pair of high quality binaural headphones and plunge headfirst into complete darkness. Flight – an immersive and truly terrifying Darkfield experience – returns to Melbourne by popular demand after a successful run in 2022. It takes you on a turbulance-filled journey through two worlds, two realities and two outcomes. Just know that there are many ways in which the plane lands safely – but will that be your final destination? Flight will run for a three-month season at the Art Centre Melbourne forecourt from December 13. Tickets are on sale now via the website. This review was originally written in 2022, when Flight was last in Melbourne – please be aware that some elements may have changed. You know the drill: check your boarding pass, find your assigned seat, stow your baggage in the overhead bin and fasten your seatbelt. Make sure your tray table is in the upright position, and make sure your window blind is open for take-off. On a monitor in front of you, a flight attendant in a blue uniform details the safety features of this aircraft. She explains that you should take a minute to find your nearest exit, bearing in mind it might be behind you. As she adjusts her pink scarf, she... wait a minute, wasn't her uniform blue? The screen flickers and she's back to blue, and you wonder if you imagined the pink. And then the lights go out. ...

Ever wanted to participate in a séance? You can now do so in this performance which takes place in total darkness. Sounds spooky, right? You'll need to proceed with an open mind... Séance is a 20-minute sonic experience where your senses become vulnerable to persuasion. It explores the psychology of a group of people who have been bombarded with suggestible material, and asks that they believe in what might be conjured up into the room with them. Suddenly, the line between what is real and what is imagined becomes blurred. Séance will run for a three-month season at the Art Centre Melbourne forecourt from December 13. Tickets are on sale now via the website. This review was originally written in 2022, when Flight was last in Melbourne – please be aware that some elements may have changed. "It's only 20 minutes," I think to myself. "How scary could it get for 20 minutes?"  I'm sitting in a pitch-black shipping container with my hands on a table in front of me and noise-cancelling headphones over my ears. The headphones are the only sensory input I have – for now, at least. And what they're telling me is pretty damn scary. Séance is an immersive sound experience created by Brits Glen Neath and David Rosenberg, in collaboration with Melbourne team Realscape Productions. It relies on psychology and our inclination towards superstition to alter guests’ perception of reality, all while never leaving the shipping container.  But boy howdy, it sure feels like you are in a real...

Depending on who you ask, Evan Hansen, the neurotic heart of Benj Pasek and Justin Paul’s 2015 smash-hit musical Dear Evan Hansen, is either a manipulative megalomaniac or a stumbling spokesperson for mental health with the edgy appeal of an anti-hero. Following nine years as the go-to for theatre kids looking for an easy Halloween costume – chuck on a blue-striped polo and an arm cast – the divisive teen arrives at Melbourne’s Arts Centre in a beautiful production of an imperfect show. A stellar cast backed by creative technical design lands every tear-jerking ballad and pop-rock anthem with a skill sure to both thrill long-time fans and convert newcomers. But the elephant in the room is Evan (Beau Woodbridge), or rather it’s the show’s tonal problem that he represents. It’s a macabre story. Evan is that brand of socially anxious and self-deprecating anyone who grew up on Tumblr will immediately recognise. On the first day of his senior year he has an affirming letter he wrote to himself at the direction of his therapist stolen by resident high school loner with an incel vibe, Connor Murphy (Harry Targett). When Connor takes his own life soon after, the letter is found in his pocket, leading his family to believe that Evan was his friend. Cornered by the grief-stricken Murphys and craving connection, Evan leans into the lie. It's all very morally dubious, and the show works best when it leans into the darker, more cynical themes raised by Evan’s deceit. ‘Sincerely, Me’, a...

When the world lost its mind over Scottish comedian Richard Gadd’s Netflix show Baby Reindeer – a fusion of his solo show of the same name and its equally startling predecessor Monkey See, Monkey Do – for many, the mic drop was twofold. Not only was this an uncomfortably riveting and rarely told story centred on a male survivor of sexual assault and intense stalking, but it’s also mostly true with only minor tweaks. These twin catastrophes really happened to Gadd, who bears his wounded soul. The opposite’s true of Phoebe Waller-Bridge’s similarly ‘confessional’ solo show-turned-TV sensation, Fleabag. While many of her unnamed character’s fears, hopes and failings are drawn from personal experience, Waller-Bridge has said she now regrets how many folks have mistaken her fictional family’s dysfunction for the real deal.  Hailing from Francesca Moody Productions, the same creative force helping drive both runaway success stories, Midsumma show Feeling Afraid As If Something Terrible Is Going To Happen similarly muddies the waters between truth and fiction to backfoot audiences. Staged in the intimate Fairfax Studio, it looks for all the world like a Melbourne International Comedy Festival stand-up show, thanks to its simple stool, coiled long-cord mic and naught much else but an occasionally flashing lights set-up.  The resemblance is so uncanny that when Olivier and two-time Tony nominee Samuel Barnett bounds onto the stage and starts regaling us with his concerns over being...