Critics' choice theatre shows in Melbourne

From the story’s origins hundreds of years ago, to its transformation into the classic 1991 Disney film, Beauty and the Beast really is a tale as old as time. In its musical form, the production hasn’t been seen in Melbourne since the ’90s, when Hugh Jackman famously performed as Gaston in his first professional role. Fast forward three decades and we’re once again seeing a Melbourne stage transformed into the provincial town and Baroque castle we know so well. Only this time round, the lavish set design is augmented with cleverly integrated digital screens. It’s just one of several updates that ensure this reimagined production of the beloved fairytale keeps up with the times. From the moment the curtain rises, it’s clear this is a large-scale musical with all the belles, whistles and big bucks. Visual splendour is the MO here – think kaleidoscopic costumes, gasp-inducing illusions and spectacular lighting – and it’s easy to see why this show broke box office records at Brisbane’s QPAC.  However, all that Disney investment would be useless without the gifted cast. Shubshri Kandiah exudes whimsy-with-a-backbone as bookworm Belle, charming us with her sweet songs and sassy moments – though the folks in her provincial town just don’t get it.  Brendan Xavier’s beast is alternately ferocious and boyish. His startled squeals and hair-twirling moments help make Belle’s dramatic change in feelings a touch more believable. Both leads shine in their solo numbers, with Xavier’s ‘If I C

Tina Turner was the bread and butter of our household TV screen. She belted alongside Mick Jagger at Live Aid, leather-clad and big hair, raced her supercharged engine across Coober Pedy in Mad Max: Beyond Thunderdome and assured the world that everything would be alright as David Bowie slipped out of the shadows during her Private Dancer Tour. She was one of music’s indomitable icons, a powerhouse; she was the Queen of Rock‘n’Roll. When Tina – The Tina Turner Musical finally rolled into Melbourne’s Princess Theatre after its West End debut and national run, it arrived with sky-high expectations. Having stacked up Tony and Olivier nominations as well as praise from Rolling Stone for its ability to simultaneously “entertain and enlighten”, I’m relieved to say that this Melbourne production did not disappoint. Leather, shoulder pads and sequins that would make Tina herself proud, danced across the red carpet on opening night with hundreds, including local Australian stars, paying homage. For someone like me, who never experienced Tina live beyond the glow of a television screen, the energy certainly made it feel like the real deal.  The musical, written by Katori Hall alongside Frank Ketelaar and Kees Prins, and directed by Phyllida Lloyd, stays true to Tina’s journey – thanks, in part, to Tina herself. From her early days in Nutbush, Tennessee, with gospel choirs and dusty churches, to the St. Louis blues scene where she met Ike Turner, across the globe to the soggy streets of

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

When Tony, BAFTA, Golden Globe and Oscar-winning star of stage and screen Maggie Smith departed this mortal coil on September 27, the wave of social media adulation celebrating her life’s remarkable work was tear-jerking, rabble-rousing and chuckle-inducing in equal measure. In the mix was, of course, her withering wonder as Mother Superior, trained on Whoopi Goldberg’s lounge singer on the run and in disguise as a nun in 1992’s cinematic Sister Act.     Joseph Maher’s Bishop O’Hara reminds her of her duty, “You took a vow of hospitality for all in need,” as she tartly replies, with only the most meagre hint of regret, “I lied.”   One of the wittiest lines in the film, directed by Dirty Dancing helmer Emile Ardolino, receives a show-stealing twist in the goofily splendid musical. Helpmann Award-winning actor Genevieve Lemon scored one of the biggest laughs of the night when she stepped into Mother Superior’s habit on opening night of the Melbourne staging, held within the hallowed hall of the Regent Theatre, opposite Australian Idol alum Casey Donovan as irrepressible singer Deloris van Cartier.   They’re a mighty double act playing off each other with abundant charm in this musical version that’s been transplanted from Reno/San Francisco in the ‘90s to Philadelphia in the ‘70s, replacing the original soundtrack with a funkier soul train thanks to mellifluous music from EGOT-winner – Emmy, Grammy, Oscar, Tony – Alan Menken, cheeky lyrics by Glenn Slater and a sassy book by Ch

Pardon a moment’s naval-gazing here, but beyond the sparkly Instagram pics from glittering opening nights, the freelance writing gig can be tough. Despite powering through with optimism and encouraging others to follow their passions, I almost gave it all up this week. Or at least I thought about it. But I won’t. I can’t.  This life chose me. Writing’s inextricably bound up in my identity. I don’t know what else I could do. Even as the stress of making ends meet drives me to distraction, I know this is the calling I’ll die (perhaps in penury) on the hill for.  All of which brings me to Sybylla Melvyn, listlessly ranging round the parched-yellow grass of her family’s failing dairy farm, Possum Gully. It’s 1899, and she is a headstrong young woman with grand ambitions of becoming a writer at a time when society has no other expectations of her than being married off to a wealthier man.  The hero of Stella Maria Sarah Miles Franklin’s beloved debut novel, My Brilliant Career, published in 1901, the 15-year-old is a remarkable figure, a frustrated feminist who hasn’t quite figured it all out yet, but is innately unlike most other girls she knows, including her younger sister Gertie and her harried mother. In truth, Sybylla most closely resembles her author, sharing obvious similarities with the woman whose name would one day lend itself to our most prestigious literary prize, the Miles Franklin Award, plus the Stella Prize for best writing by an Australian woman. Together, they d

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

Dickens' A Christmas Carol is returning to the Melbourne stage. Set for a pre-Christmas season from November 22 to December 29, the smash hit staging of the timeless holiday story will be playing at the Comedy Theatre.  A Christmas Carol was the most-awarded play of 2021, sweeping the Tonys with five award wins. Two Tony Award winners themselves created the magical rendition: director Matthew Warchus (Matilda the Musical) and playwright Jack Thorne (Harry Potter and the Cursed Child). The production delivers striking staging, moving storytelling and 12 traditional Christmas carols, including ‘Joy to the World’ and ‘Silent Night’. The cast announced for 2024 stars Erik Thomson as Ebenezer Scrooge, alongside an exceptional cast of sixteen performers including Tim Wright and Alison Whyte. 'A Christmas Carol' is showing at the Comedy Theatre until December 29, 2024. For more information and to book your tickets, head to the website. Read our four-star review of the 2023 production here: One of the defining aspects of Christmas that delights and frustrates, depending on your inclination, is its inexorability; it comes around again and again, like the white horse on a carousal. Maybe this will also be the case with the Old Vic production of Dickens’ A Christmas Carol, which proved a great success last year and is back to spread its Yuletide cheer around the Comedy Theatre once more. The central change – in fact, the only significant change – is the casting of the villain who bec

The weather might be incredibly unpredictable these days, but summer in Melbourne still means a few reliable things. It means the Boxing Day Test at the ‘G, British backpackers causing a ruckus on St Kilda Beach, and for Melbourne’s kids, it means The Wind in the Willows at the Royal Botanic Gardens. The Australian Shakespeare Company's production of The Wind in the Willows has been playing in the same spot since 1987, and Melburnians who saw it as children are now bringing their own kids along to enjoy the timeless classic. The 2024-25 season marks the 38th time the charming outdoor production will bring the whimsy of Kenneth Grahame’s immortal story to Royal Botanic Gardens, making for a perfect family tradition that can live on through future generations.  This affordable, interactive show is tailored to keep the kids engaged, with Head Chief Rabbit teaching young attendees how to become rabbits themselves by waggling their ears and wiggling their noses. There are singalong songs and participation aplenty in this panto-style comedy, so even the smallest theatregoers will be enraptured.  Attendees are encouraged to bring along a picnic blanket, drinks and their snacks of choice for a relaxed theatrical experience. Find out more about the production or purchase your tickets at the website.  Feeling thrifty? Here's how to get cheap theatre tickets in Melbourne.