Arts Centre Melbourne

Golden Blood is now playing at Arts Centre Melbourne as part of Melbourne Theatre Company's 2024 season. Read on for our critic's review of the recent Sydney season. Girl (played by Merlynn Tong, who is also the playwright) is 14. She dreams of moving to Australia. She wants to be a veterinarian, and to help all the marsupials she’s read about. The plush koala she clings to is a salve and a symbol of her ambitions.  Boy (Charles Wu, Miss Peony) is 21. He dreams of wealth – vast wealth. He wants to be a gangster. Maybe he already is one. He wants to attain the respect he’s seen his fellow criminals command. His father’s parang (a large knife, not unlike a machete) is a salve and a symbol of his ambitions. To be clear, Girl and Boy are siblings. Their alcoholic mother’s death has brought them back together, Boy having left the family home years ago for reasons we’ll later learn. Boy promises to protect Girl. In his way, he does – but being dirt poor in Singapore’s criminal demimonde is a tough row to hoe.  Bringing with it a strong sense of self, place, and culture... it’s a remarkable work. Golden Blood comes to Melbourne Theatre Company after a Sydney Theatre Company season and an acclaimed indie premiere season with Griffin Theatre (the company behind the winner of Best Play in the inaugural Time Out Sydney Arts & Culture Awards) in 2022, bringing with it a strong sense of self, place, and culture.  It’s a remarkable work. Over the course of its brisk 90 minutes, we follow B

The curtain lifts on Peter and the Starcatcher at Arts Centre Melbourne, a sparkling concoction of puppetry, music, charm and stagecraft. If there’s ever been a time to pull out the word enchanting, this is it. Adapted by Rick Elice – known for bringing narrative depth to classic tales – and directed by David Morton, this smash-hit, five-time Tony Award-winning production partners with the Dead Puppet Society. And yes, they had us at "puppets". The show is sprinkled with shimmering, inventive puppetry that brings a delightful layer of magic to the stage.  Elice’s adaptation cuts the "S" in Starcatchers to make room for two leads: Peter Pan (Otis Dhanji) and Molly (Olivia Deeble), the Starcatcher herself. And while Peter is discovering his name and Molly is saving the world and her father, Lord Aster (Alison Whyte), Elice sneaks in light-hearted pokes at adventure tropes and British colonialism. There’s a magical substance called starstuff that gives people what they most desire, transforming a scotch salmon into a mermaid and a bird into Tinkerbell, and everyone’s after it. Including Colin Lane, who is memorable as Black Stache, a pirate with a peculiar politeness and a biting disdain for children. Lane’s timing is impeccable – especially when a fire alarm goes off mid-show, which he turned into an impromptu comedy break, riffing with the audience. Later, he added some extra banter that momentarily broke the production’s spell but earned big laughs from the school kids in the

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.  This

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 séan