MARVELous The Show

If you’re a Marvel fan looking for something wildly different, Marvelous is a must-see. Running at The National Theatre in St Kilda, Melbourne for one week only, this audacious parody of Marvel heroes delivers a show with elements of burlesque, comedy, and stunning physical performances, tailored exclusively for an adult audience.

Marvelous unapologetically combines the beloved Marvel universe with a risqué, irreverent twist that you never knew you needed. 

Expect to see everything from a trio of Spider-Men sharing the stage to an unforgettable face-off between Captain America and Bucky presented in the nude. From Tony Stark’s troubled past, to Fat Thor and his iconic dad bod performing aerial stunts, no iconic Marvel moment is spared. 

Marvelous takes scenes fans hold dear and reinterprets them in ways that push boundaries, creating a performance that’s as daring as it is hilarious. Each cast member shines, bringing a unique take to their Marvel persona across an array of talent in singing, dancing, stunts and aerial performance. Combined with a rock-infused soundtrack and references to both the MCU and other well known films, the entire performance is as playful as it is entertaining. 

With Deadpool as the bawdy narrator, guiding the audience through a storybook filled with scenes most certainly not for kids, the action is both stylised and skillful with battles transformed to a theatre spectacle. Come and see Black Widow’s ballet, Dr Strange’s magic and maybe even find out what the Hulk has been up to. 

Marvelous hits the sweet spot between homage and parody; balancing edgy humor with references that Marvel fans will appreciate. With just the right amount of risqué content, it’s an experience that’s as much about laughing at beloved characters as it is about celebrating them in an unexpected, adult-oriented light.

For fans who want to see their favorite superheroes in a whole new way, Marvelous is the night out for you. 

Photo credit: Ben Dingley 

The opening night of Tina: The Tina Turner Musical in Melbourne was a vibrant celebration of Tina Turner's life; the show masterfully blending Tina's personal struggles and triumphs alongside her iconic music. Taking the audience on an emotional rollercoaster, the show delves deep into Tina's realities while performing a showcase of her greatest hits. 

Covering over 20 of her most famous songs, including Proud Mary, What's Love Got to Do with It and Private Dancer, the musical balances high-energy performances with heartfelt moments that bring her incredible story to life. The seamless integration of music and storytelling, combined with stunning choreography, make this production a powerful tribute to Tina's legacy. 

The cast, led by Ruva Ngwenya, delivered exceptional performances that elevated the show to another level. Ngwenya embodied Tina Turner; showcasing not only the singer's powerful voice but also her resilience and spirit. Giovanni Adams brought depth and complexity to his performance as Ike Turner, delivering a performance that captured the intensity and complexities of his relationship with Tina. Deni Gordon added warmth as Gran Georgeanna, while Ibinabo Jack as Zelma Bullock and Nadia Komazec as Rhonda Graam gave strong supporting performances. Zoe Desmier, as young Anna Mae, stood out, almost stealing the show with her portrayal of Tina's early years. 

The music is, of course, the heartbeat of the show. Whether you're a Tina mega-fan or someone who only knows the hits, each song brings a new energy and a deeper emotional connection to Tina's life - having the context of each song laid out before you. Providing more meaning to each lyric, and each hit more impactful, the vibrant choreography matched the energy of the music and the story. 

What sets Tina: The Tina Turner Musical apart is that it goes far beyond the music. It’s not just a showcase of hit after hit; it’s the inspiring story of a woman who didn’t just rise to the top—she reinvented what it meant to overcome adversity. From Simply the Best to River Deep, Mountain High, the musical captures her full journey through hardship, resilience, and ultimately triumph. The mix of humour, drama and sheer joy of performance makes for a truly engaging night at the theatre. It's a fitting tribute to Tina's extraordinary legacy, and Melbourne audiences are in for a treat. 

 A fresh take on Mary Shelley’s classic, Frankenstein comes to life onstage. 

The latest adaptation of Mary Shelley's Frankenstein, now showing at Melbourne’s Princess Theatre, offers an exhilarating rendition of the classic gothic horror story. With its compelling mix of striking visuals, strong performances, and innovative direction, this production captures the body and soul of Shelley’s iconic work.

With smoke enveloping the stage from the very opening of the production, the audience is thrust into the 18th century; where themes of ambition, isolation and the search for knowledge are prevalent. Director Nick Skubij and Shake & Stir Theatre Co’s production respects the essence of the original text, while reimagining key elements to resonate with contemporary audiences.

Consisting of only six cast members, the small cast delivers standout performances that bring the production to life. Starring as Victor Frankenstein, Darcy Brown captures the doctor’s complexity and vulnerability, all while driven to the brink by his own pride. Jeremiah Wray stars as the Creature; looming and omniscient, and perfectly encapsulating the character’s tragic existence. Supporting the two leads are Tony Cogin, Nick James, Anna Lise Phillips and Chloé Zuel, who spread themselves across multiple roles - making each character their own. The chemistry between all six actors is undeniable, and make the performance one to remember.

The stage design is a visual feast, which skillfully blends gothic aesthetics with modern technology. The source material’s haunting atmosphere is reflected in the stage’s minimalistic elements - with smoke and screen panels playing a big part in creating an eerie backdrop. The costume design is absolutely gorgeous, and in a way, detrimental to the gothic classic. Add in some brilliant, yet unnerving lighting and sound design, and Frankenstein successfully brings chills and a few scares to the stage.

Whether you are a fan of the gothic classic, or curious about an interpretation of the novel onstage, Frankenstein is a powerful rendition of Shelley’s cautionary tale of the act of playing God. Frankenstein will be showing at Melbourne’s Princess Theatre from August 23 to September 1, and Theatre Royal in Sydney from September 28 to October 13. Tickets are on sale now at their website.

Photo credit: Joel Devereux

 Six strong women slayed at the Comedy Theatre in a loud, energetic, and truly enjoyable opening night of SIX THE MUSICAL. The surprise hit from Edinburgh Fringe Festival in 2017 has returned to Melbourne, continuing its run and global domination. 

This show is unique. It only goes for 80 minutes and is presented in the format of a pop concert. With familiarity on the history of Henry VIII’s wives, and no clear expectations, this show was an absolute blast. Each wife presents her-story and details the tribulations suffered. 

The energy from the crowd was mere fodder in comparison to the explosion of sound and light that emanated from the incredibly talented six leading ladies - Kimberly Hodgson (Catherine of Aragon), Deirdre Khoo (Anne Boleyn), Loren Hunter (Jane Seymour), Zelia Rose Kitoko (Anna of Cleves), Chelsea Dawson (Katherine Howard) and Giorgia Kennedy (Catherine Parr). 

Delivering songs including Don't Lose Ur Head, Haus of Holbein and I Don't Need Your Love to name a few, the Queens are phenomenal both as a collective and individually. Every cast member put in an absolute marathon effort, with challenging vocals and no time off stage. The commitment to their roles and true enjoyment radiated through to the audience who were all on their feet by the show’s timely conclusion. 

With a female-led cast (and band) this show makes a clear feminist point, however you can be forgiven for wondering why these stories all centre around one individual, male monarch. This is an issue that is clearly addressed by the show, but if you want to know how you’ll simply need to purchase tickets and see for yourself. 

Join the Queendom and head to SIX THE MUSICAL today. Get your tickets here. 

Photo Credit: James D Morgan

Sunset Boulevard, the musical penned by Andrew Lloyd Webber and based on the 1950 classic film is a story which dives deeply into the world of classic Hollywood – with its many highs and lows. The glitz and glamour from the studio’s hollow film sets and cameras are the perfect metaphor for the superficial and feeble nature of the industry – one that keeps pulling its victims back for their big break, their comeback, or as Norma Desmond would prefer it stated – their return.

The musical has not been seen in Australia since 1996, headlined by Hugh Jackman and a complicated Debra Byrne. This time, Melbourne audiences are spoiled with the phenomenon that is Sarah Brightman. Brightman oozes stage presence and commands captive attention – as is necessary when filling the role of twilight-era diva, Norma Desmond. Her notoriety alongside her iconic tone and vibrato is iconic, and a spectacle to behold. While Brightman rightly secures top billing, Tim Draxl, who plays hard-for-work writer Joe Gillis puts on a marathon display of charisma, talent, and charm – and deserves just as much (if not more) attention for his role as Brightman.

The production leans heavily into its Hollywood theme. The set design is exquisite, with a beautiful interior living room setting the scene for the majority of the performance. Transitions involving a projected car travelling between locations may seem kitsch, but are entirely suitable thematically, and various rainstorms are effectively executed using both digital projections and more traditional set design. 

The performance itself feels long. In the context of Melbourne theatre at the moment, it is an important distinction that this is spearheaded by Opera Australia. In a season where punchy, engaging performances (such as Six, & Juliet, Moulin Rouge) are at their heights of popularity, Sunset stands alone as a traditional piece of theatre, with operatic roots. This is not a criticism. Purists will appreciate the callback to theatre of the early 90’s, and anyone looking to understand the breadth of Andrew Lloyd Webber’s work will appreciate the change of pace. 

This is a very different story to Jesus Christ Superstar, and Phantom. In fact, for those unfamiliar to the story (of which there are many) it is strongly encouraged to enter the experience blind and appreciate the turn of events as intended. In 2024, the themes surrounding mental health, the desire for company and the pressures of supporting those in need are as prevalent as ever before.

By understanding this performance and appreciating its message, one leaves Sunset Boulevard feeling that they’ve witnessed something special. Impeccable performances by stars domestic and international – an opportunity to see an something different to the norm and a great callback to the classic art of theatre – both cinematic and musical. 

Most people will be familiar with the premise of this classic play by Neil Simon. This is more likely due to the classic sitcom from the 70’s as opposed to the success of the original performance which debuted on Broadway in 1965. I was surprised to learn that the play inspired the film and sitcom, but this distinction is important. The notion of up-tight, fastidious Felix living alongside the slovenly and unkempt Oscar is a timeless notion in itself, and to see its origin portrayed on the stage as originally intended is a pure delight.

The stars of the show, Todd McKenney and Shane Jacobson are fantastic.  Todd McKenney has a remarkable physicality and his ability to throw his voice and adapt to the American twang of the neurotic Felix is incredible. As someone so prevalent in media, it is easy to forget his talent, meticulously crafted and improved over decades of performances. As someone so prevalent in musicals, it is also easy to forget how much of that talent includes his ability to act. Shane Jacobson’s performances have always been relatable and enjoyable to witness. It takes some time to become accustomed to his American mannerisms (Kenny is an Australian icon after all) but once you embrace the character and his environment, the performance is strong. The chemistry between both leads is great (as first identified in their collaboration during Hairspray last year) which is just as well. The play is relatively lengthy and held together by two performers who clearly respect one another and fastidiously support the other’s space on the stage.

In terms of the play itself, it takes some time to warm up, and the interval comes at a good time. The first act feels long however this is most likely due to the familiarity the audience have with the Odd Couple’s traits. What does hold up and absolutely stands the test of time is the performance by Lucy Durack and Penny McNamee as the Pigeon sisters from London. Their enthusiasm and bubbly natures exude aplenty upon the audience and everybody’s energy levels lift accordingly. Durack stamps herself clearly as a talented actor with impeccable comedic timing. Again, the chemistry with Penny McNamee is impalpable and both women earn their warm rounds of applause throughout the play.

The set is simple yet effective. A New-York apartment which goes through various states of tidiness dependent on the course of the co-habitation – a great tool to demonstrate both character’s odd styles of living. 

A well-rounded supporting cast including Laurence Coy, Anthony Taufa, John Batchelor and Jamie Oxenbould are well utilised and provide additional unbiased perspectives on the polarising lead’s personality traits. 

A play and film in the 60’s, a sitcom in the 70’s – while there have been attempts to revamp this story again since, the best way to understand the odd couple, appreciate the premise and have a good old-fashioned laugh at a fairly relatable concept is to witness this performance first-hand. With such a strong, talented cast and a platform to display their acting abilities and flawless comedic timing, this is a performance well worth witnessing first hand. 

Photo Credit: Pia Johnson

The Australian production of the multi-award winning and record breaking musical CHICAGO is back in Melbourne! This time around, the production brings some of the biggest names in Aussie talent and locks them away in Cook County Jail, where we see them all successfully steal the show. It's easy to see why CHICAGO is the longest running American musical in Broadway and West End history, and the Australian cast manages to bring the glitz, glamour and jazz to life; taking us on an adventure filled with murder, enticing choreography and a lust for fame. 

CHICAGO boasts some of Australia's household names - with the fame-obsessed murderess and bedroom chorus girl Roxie Hart played by Lucy Maunder, and glamorous vaudevillian Velma Kelly by musical theatre star Zoë Ventoura. The pair have an incredible energy on-stage as their rivalry and comradery blossoms throughout the show. Asabi Goodman shines as prison warden Matron 'Mama' Morton, and the charismatic lawyer of the people, Billy Flynn, is played by superstar Anthony Warlow. Peter Rowsthorn, who plays Roxie's innocent but lovable husband Amos Hart, brings in the laughs; the cast finding the sweet spot for cynical comedy. 

Highlights from Act I include Velma Kelly opening with All That Jazz, Velma and Mama Morton's iconic Whatever Happened to Class?, as well as the origin story of each inmate with Cell Block Tango. Asabi Goodman dishes up a stand-out performance of When You're Good To Mama, and Lucy and Zoë deliver on the duet of My Own Best Friend. In Act II, we laughed and we cried as Peter Rowsthorn performed his comedic routine of Mr Cellophane, and Anthony Warlow took over with Razzle Dazzle. 

CHICAGO is tongue-in-cheek, hilarious and is extremely self-aware. With the characters far from perfect - each rough around the edges and on their own personal agenda - be warned that these hardened criminals will find a way to melt your heart. 

CHICAGO will be playing at Her Majesty’s Theatre in Melbourne before heading to Sydney and Adelaide. 

For tickets, please click here.

Photo Credit: Jeff Busby

Returning to Melbourne's theatre scene for its third run, Wicked is back and better than ever! The Regent Theatre has been transformed into the magical world of Oz; ready to share the untold story of its characters. After enchanting audiences across the world, we're excited to have the show back in our city, and were honoured to be invited to the opening night for an extra special performance of the award-winning show.

Directed by Lisa Leguillou (based on the original production directed by Joe Mantello), Wicked follows the unlikely friendship between Elphaba and Glinda, and the secrets they uncovered together. With a story written by Winnie Holzman, which was based on the book by Gregory Maguire, Wicked's production and especially musical numbers (written by Stephen Schwartz), have become iconic since its first performance back in 2003. Needless to say, we were ready for a rollercoaster of emotions, as well as plenty of singing along. 

From the moment we took our seats, we were instantly transported to the fantastical world of Oz; from the Clock of the Time Dragon to the brilliantly painted map onstage. Wicked's set design could never be faulted - seamlessly blending the whimsy and mystery surrounding the production's narrative. As always, the set design (meticulously created by Eugene Lee) and its attention to detail is incredible, and is the real magic that pulls the show together.

The heart of Wicked lies in its powerhouse performances, which the Melbourne cast have absolutely nailed. The chemistry between the two leads, Elphaba and Glinda, played by Sheridan Adams and Courtney Monsma, is nothing short of magical. Adams effortlessly embodies the complexity of Elphaba; portraying the character's transformation from an outcast to a powerful force to be reckoned with. In contrast, Monsma brings an infectious energy to Glinda; infusing the character with humour and warmth, and a generous dose of valley girl attitude. Stand-out performances are the fantastic Robyn Nevin as Madame Morrible, Simon Burke as the mysterious Wizard, and Liam Head as the loyal Fiyero - who all play their parts brilliantly.

The vocal performances throughout the production are outstanding; with the ensemble cast delivering powerful renditions of the show's iconic songs such as Dancing Through Life, Popular, As Long as You're Mine, No Good Deed and of course Defying Gravity. The orchestra, under the skilful direction of David Young, enhances the emotional impact of the music, creating a sensory landscape that elevates the overall theatrical experience.

While Wicked has graced Melbourne's stages before, this third run feels as fresh and enchanting as ever, and dare we say it - the best yet. The timeless story, coupled with the impeccable production values and stellar performances, cements its place as a must-see theatrical experience. As the final curtain fell, the thunderous applause from the audience echoed the sentiment that Wicked continues to cast its spell over Melbourne, and will do for many more years to come.

Photo Credit: Jeff Busby

In honour of its remarkable 50th anniversary, the legendary rock 'n roll musical, The Rocky Horror Show, is back in Melbourne!  Australian superstars Jason Donovan returns as the iconic Frank N Furter, and Joel Creasey debuts as the Narrator. With its legacy rooted in the genius of Richard O'Brien, The Rocky Horror Show has become an adored musical worldwide; holding the honour of being the only contemporary rock musical to achieve half a century of stage success. Originally debuting in 1973, this mischevious musical has enthralled over 30 million spectators across 30 countries over the years -  transcending language barriers with translations in 20 languages. 

The show boasts an exceptional cast, featuring Jason Donavan as Frank N Furter; who captures the mad scientist in all his glory, in what is hands down one of our favourite takes on the character. The hilarious Joel Creasey stars as the Narrator, and is as quick on his feet as ever, in what was a very improvised role throughout the show. Wasting no lines thrown at him from the audience, Creasey was quick to fire back at any heckles thrown his way, much to the audience's delight. Starring as Brad and Janet is the talented Blake Bowden and Deirdre Khoo, as well as Ellis Dolan who plays Eddie and Dr Scott, Darcey Eagle as Columbia, and Daniel Erbacher as Rocky. Henry Rollo and Stellar Perry's Riff Raff and Magenta are standouts in the show; both with incredible voices and a playfulness that complemented the characters well. 

From the start of its haunting opening number Science Fiction/Double Feature, the show was captivating from the very beginning; and so clearly loved by so many generations. Dammit, Janet saw a charming duet between leads Brad and Janet - perfectly setting up the couple for their journey into the strange world of Dr Frank N Furter, while the iconic Time Warp encouraged the audience to sing and dance along. Jason Donovan's first appearance as Frank N Furter was of course heralded by the electrifying Sweet Transvestite; which was easily a show highlight, which had everyone cheering and whooping along. Other musical standouts included Eddie's solo Hot Patootie, Bless My Soul and Janet's empowering Touch-a, Touch-a, Touch-a, Touch Me, which showcased Deirdre Khoo's voice perfectly.

Needless to say, the set design for the anniversary shows is top notch - with some impressive scenery, and plenty of kitschy sci-fi props to boot. No exceptions have been made for the incredible lighting effects which are seen throughout, while the show's live band and back-up singers/dancers are just the cherry on top. With high levels of audience participation encouraged, the show was full of singing and dancing along moments, as well as what has become Rocky Horror tradition - line call backs. With every show bound to be different, based on audience members and whatever the Narrator comes up with, it's no wonder The Rocky Horror Show has stuck around this long.

All good things must come to an end - and that goes for the show. Ending on its big climax, the cast and crew received a standing ovation from the audience. Just when we thought that was it, the cast comes back for an encore performance of Time Warp and Sweet Transvestite; which pull the audience to their feet for one last dance. 

  Direct from its record-breaking run in London Groundhog Day the Musical is now playing at Melbourne’s Princess Theatre.

The musical is based on the classic Bill Murray film – with a book written by Danny Rubin who also wrote the original 1993 classic, the synopsis is very close to that of the movie.  Phil Connors, a cynical Pittsburgh TV weatherman is sent to cover the annual Groundhog Day event in the small town of Punxsutawney, Pennsylvania. Caught in a time loop, he’s forced to relive the same day again and again… and again. 

While the story is familiar, its retelling via the stage is a theatrical masterpiece. It is, in a word, clever.

Whip-smart lyrics and catchy music from Australian favourite Tim Minchin chaperone the audience through a familiar story with an unfamiliar perspective. What could easily be a very boring, monotonous and frustrating performance remains fresh, engaging and funny.

Andy Karl returns as Phil Connors, the role he originated on Broadway which won him an Olivier Award, a Drama Desk Award and a Tony Nomination. It is very clear  this is a part that he is very familiar with. He oozes charisma and manages to shift tones effortlessly throughout the performance. The fact that Phil Connors is so incredibly unlikeable and retains empathy and audience support is testament to his ability to shift with tonal changes throughout the production.

Elise McCann also puts on an incredibly display providing a warm counterweight to Phil Connors’ spiky persona. She oozes warmth and sincerity, and continues to maintain a fresh presence throughout – which is no mean feat in a performance that repeats the same day hundreds (if not thousands) of times.

The theatrical craft of this show is wonderful. One particular highlight includes a car chase scene which utilises lighting, blocking and set design masterfully. For a seemingly inconsequential moment in the plot this scene in the first act is a highlight.

Beyond the spectacle, Groundhog Day challenges audiences to look at the supporting players with more context. Playing into the subtle developments of smaller characters (learning to sing, proposing to a loved one) it is a reminder that life itself is a journey for everyone, not just the principal characters. The most notable example of this comes at the start of the second act, with Ashleigh Rubenach playing the role of Nancy. Initially an afterthought of a character, a cheerleader/conquest of Phil Connors’ who is overlooked (both in the first act and in the original movie) Nancy provides some perspective and insight into her own emotions, motivations and perspective. It was telling when watching this song performed live that the audience first started laughing, but then quickly realised their own errors of jumping to pre-established conclusions and stereotypes.

Groundhog Day is not your classic musical, which is a good thing. The story, production value and talent on display will appeal to a wide audience. If there is someone out there who ‘doesn’t like musicals’ then this is a great opportunity to challenge that thinking. All elements work incredibly well together to put on a production that could be enjoyed day, after day, after day…

There will be some people that instantly recognise Malevo, an Argentinian Malambo group who made their way to the semi-final of America’s Got Talent’s 2016 season. Then, there will be some that have no idea what any of that means. There is no doubt that Malevo is an incredibly talented outfit that will delight audiences of all ages and persuasions, regardless of how familiar you are with their work. 

This all-male South American percussion group has shared the stage with Puerto Rican popstar Ricky Martin and Cirque du Soleil, and has performed worldwide, including in Las Vegas, New York, Dubai, Cairo and Montreal. And now, the leather-laden troupe is making their way to Australia for the first time.

The style of their performance is “Malambo”, a traditional Argentinian folk dance (not dissimilar to the more familiar Irish dancing – albeit with a lot more flair and arm movement). This definition itself does not do Malevo justice however, as they embark upon an intense performance featuring dancing, rhythmic, choregraphed drumming and ball/string spinning. 

Coming into the performance with little understanding or expectation, it was clear very early on that this was a highly rehearsed ensemble, with incredible levels of fitness and meticulous detail given to their craft. With just enough variety between each act, their performance kept all audience members engaged throughout the (almost) 90 minute performance.

Given the show’s duration and the unique nature of the performance, this is an event that both adults and children would enjoy. It is truly a unique offering and the buzz amongst audience members when exiting Melbourne’s sold-out State Theatre was fervent. 

Don’t delay purchasing tickets, Malevo are only in Melbourne for a limited time – this truly is a unique event that will be remembered for many years to come. 

Photo Credit: Jordan Munns

Opera Australia has partnered once again with Cameron Mackintosh, for his new production of Claude-Michel Schönberg and Alain Boublil's award-winning musical Miss Saigon. Directed by the critically acclaimed Laurence Connor, Miss Saigon follows the tragic story of Kim, an orphan of the Vietnam War, and her doomed relationship with an American GI. Based on Giacomo Puccini's 1904 opera Madame Butterfly, Mackintosh transports the audience into the middle of a war-torn country, and the bustling streets of a city that never sleeps.

Featuring a predominantly Asian-Australian cast, Miss Saigon introduces us to Abigail Adriano as Kim, in her first leading role. Adriano's flawless performance makes it hard to believe this is the first time the 18-year-old is leading - and it is sure to be the start of a successful career onstage. The incredible Seann Miley Moore stars as the Engineer, who is an instant crowd favourite. Moore's impressive background saw the artist captivating the audience with each word and wave of their hand, and was a scene stealer in every moment. Starring as Kim's American lover, Chris, was Nigel Huckle, whose onstage chemistry with Adriano is undeniable - especially in their first duet together, 'Sun and Moon'. In supporting roles are Nick Afoa as Chris' fellow soldier John, Kerrie Anne Greenland as Ellen, Chris' wife, Laurence Mossman as Kim's betrothed, Thuy, and Kimberley Hodgson as Gigi - a veteran Saigon sex worker. Each cast member, swing included, pull out all the stops to make their performance nothing less than perfect, in an awe-inspiring production that will stick with you for a long time.

Minor modifications have been made to Schönberg and Boublil's score, along with Richard Maltby Jr's lyrics, as Michael Mahler has added in a few modern references that'll have the audience smiling. With all characters each getting their time in the spotlight, there are plenty of songs that showcase the cast's talent and vocal skills. Highlights for us included Gigi's solo 'The Movie in My Mind', Kim's raw, emotion-driven 'You Will Not Touch Him' and 'Room 317', and the Engineer's fanfare-ish 'The American Dream' - complete with showgirls and a hotrod.  

Miss Saigon's production appears to spare no costs, with rich backdrops and props brilliantly executed by Matt Kinley and Totie Driver. The various scenes paint the stage with rich tradition, and later, neon lighting, as Act 2 sees the production's setting move to Bangkok. A major highlight in Miss Saigon is its flashback scene, which features a show-stopping helicopter, which further drives home the heartbreak and tragedy felt by the war and its victims.

Miss Saigon is running at Her Majesty's Theatre in Melbourne from 29 October - 16 December 2023, before it moves to Adelaide's Festival Theatre from 2 January – 28 January 2024. This is a must-see for musical lovers and theatre-goers alike - just make sure you bring the tissues. 

Get your tickets here before Miss Saigon leaves Australia!

Photo Credit: Daniel Boud

The worldwide music sensation MAMMA MIA! The Musical is now enchanting Melbourne's Princess Theatre after a triumphant tour of Brisbane and Sydney. The delightful re-staging of the critically acclaimed 2017 production, skillfully directed by Gary Young, boasts an incredible cast of talent to create an unforgettable experience for audiences young and old. With a phenomenal score of 22 of ABBA's most cherished tracks, the musical magically brings ABBA's euphoric spirit to life in front of your eyes. 

MAMMA MIA! transports us to the Greek island of Kalokairi; as we are introduced to radiant bride-to-be Sophie (Sarah Krndija), her proud and multifaceted mother, Donna Sheridan (Elise McCann), and three unexpected visitors - all Sophie's potential fathers. Hilarity ensues as we explore Donna's unresolved feelings for her past lovers, who have all arrived unannounced at her doorstep, right on the weekend of her daughter's wedding. 

Elise McCann, celebrated for her previous portrayal of Miss Honey in the Australian production of Matilda the Musical, delivers an extraordinary performance as Donna - embodying the character's depth and complexity as she reflects on her past and explores her future. Sarah Krndija, positively shines in the lead role, with the young bride-to-be a symbol of hope, joy and all the possibilities that lie ahead. The chemistry between McCann and Krndija is undeniable, and a key part of why this production works so well. Supporting them is Martin Crewes as Sam Carmichael, Drew Livingston as Harry Bright, and Tim Wright as Bill Austin - each playing vital roles as Sophie's potential father-to-be, complete with generous backstories into each of their former selves. Special mentions are also due to Lewis Francis as Sophie's fiancé Sky, as well as the dynamic duo of Rosie (Bianca Bruce) and Tanya (Deone Zanotto), whose comedic numbers nearly steal the show.

MAMMA MIA! excels in its exceptional use of ABBA's extensive catalog; backed by incredible choreography by Tom Hodgson and costume design by Suzy Strout. Some of our favourite performances from the cast included Dancing Queen, The Winner Takes It All, Voulez-Vous, SOS, Super Trouper, Take A Chance On Me and of course, Mamma Mia. The musical brings us back to the disco era, encouraging the audience to dance, sing and immerse themselves in the wonderful story unfolding. 

In it's essence, MAMMA MIA! The Musical is a celebration of music, love and a story for the ages. Having captivated over 65 million people worldwide, you'll have plenty of laughter, tears, dancing and singing during this extraordinary experience. Come along to the wedding of the century, and witness the magic of MAMMA MIA! The Musical. 

Season Details:

Venue: 

Princess Theatre

Until:  

December 10, 2023

Show Duration: 

2 hours and 30 minutes including one interval.  (please note lock out periods apply)

The production contains theatrical haze, strobe lighting. 

We recommend the show is suitable for audiences 5 years and over.

Tickets and information from  www.mammamiathemusical.com.au

Photo Credit: David Hooley

Love Lust Lost is a performance art extravaganza that takes you on a journey below sea level, to the depths of the human condition. This is not your typical theatre show, although it is technically set inside a theatre. It’s a multi-sensory experience; spanning 43 rooms and 1900 square metres of the historic Austral Theatre, with opening night coinciding with the theatre’s 102nd birthday before its imminent demolition. 

As you enter the theatre, you are immediately thrown into the ‘choose your own adventure’ style of the performance, faced with the initial decision - left or right? You are free to roam around the theatre, to touch, smell, hear, see and feel everything that surrounds you. As you explore the ship, meeting each of the crew aboard, you will encounter everything from music, dance, theatre, circus, magic and burlesque as you aim to understand the secrets that lie within. 

Inspired by interpretations of Hans Christian Anderson’s The Little Mermaid, the show incorporates many significant references to key pieces of music, film, theatre and literature. The show’s creator, creative director and co-writer Kirsten Siddle and stage director Scott Maidment have crafted a stunning spectacle that showcases the talents of a diverse and talented cast of performers. 

As you immerse yourself in a world of fantasy and wonder, take note that nothing is as it seems. You will find secret notes, secret passageways and rooms, and secret stories that will reveal more about the characters and their fates. Interact with the performers, get a tattoo, makeover or transformation, and join in the fun. 

Love Lust Lost is a show for curious minds and adventurous souls who are looking for something different and exhilarating. Explore the depths with Captain Anderson and his crew, and watch out for the Sea Creature.

LOVE LUST LOST

The Austral, 200-202 Johnston St. Collingwood

Previews from 8 September 2023 

Tickets range from $62-$89

On sale now through to 29 October 2023 via Eventbrite

LOVELUSTLOST.COM

@lovelustlosttheshow

Photo Credit: Jeff Busby

Death of a Salesman is one of the most renowned and influential works of theatre ever created. This latest performance shows us why that is. 

Neil Armfield directs a stellar cast in this gripping drama; taking the audience on a journey of hope and despair, and exploring themes of the American dream, family relationships and self-deception. Emmy®, Golden Globe®, and Tony Award®-winner Anthony LaPaglia makes his first appearance on the Australian main stage as Willy Loman, and for over three hours, we were amazed by every subtlety and feeling he conveyed. From his confidence and optimism, to his anguish and denial; the audience were made to sympathise with Willy while trying to comprehend each of the complex interactions at play. LaPaglia's performance is gritty, raw, and emotional - we feel the joy and hope as much as we feel the aches and pains. Alongside LaPaglia, Alison Whyte excels in her portrayal of Linda Loman, Willy's loyal wife. Her performance was genuine, realistic and brought us into her world as much as his.

The set design by Dale Ferguson was simple but effective, creating a sense of realism and intimacy, and allowing the audience to focus on the intricate details of each character's lives. Each character has a significant role in understanding Willy Loman's story, and each performance was as insightful as the next. From the boys' complicated relationship with their father, Biff (Josh Helman) and Happy (Sean Keenan) explore how their own aspirations and dreams are tied to their father's life - a blend of love, resentment, admiration and guilt. In a stellar cast, all performances are notable, and each of the cast members bring something special to their performance. Rounding out the cast are Steve Bastoni as Charley, Richard Piper as Ben Loman, and the supporting company of Elizabeth Blackmore, Manali Datar, Simon Maiden, Louisa Migone, Grant Piro and Tom Stokes.

This production is flawless - it's an absolute classic and the cast deliver beyond expectations. If you have a chance to see this exclusive Melbourne run, don't miss the chance to witness a work of art that will touch your heart and soul. This masterpiece will stay with you long after the curtain falls. 

Tickets 

Arthur Miller's timeless Pulitzer Prize-winning classic will play for a strictly limited 7-week season at Melbourne's Her Majesty's Theatre, and is on until 15 October. 

Tickets are now on sale via salesmanaustralia.com.au

  After commencing production in the height of the pandemic a number of years ago and taking on significant risk internationally, this production deserves all the reward, recognition and admiration that it has. Moulin Rouge! The Musical (and theatre in general) has reignited its love affair with Melbourne in a triumphant return to stage.

For those familiar with the production (and Baz Luhrmann’s 2001 film) you will be instantly transported back to Paris as you enter the theatre. The ambience as you walk the red-lit auditorium, including the iconic red windmill and elephant, sets the scene immediately.

From the opening number throughout, this show is a non-stop cavalcade of hits. The show is a jukebox musical in every sense of the word, with over 70 well-known hits blended and mixed throughout the performance. While it can at times be distracting listening out for particular line from a song, the way this show has incorporated these hits is thoughtfully done, smoothly transitioned and appropriates the production for a modern audience.

Most of the original cast remain, and for good reason. The vocal performances from principal cast members including Alinta Chidzey (Satine), Des Flanagan (Christian) and James Bryers (The Duke of Monroth) are stellar and remind audiences of the calibre of talent within Australia.  Simon Burke returns as Harold Zidler in a role that successfully keeps the relatively simple story moving, albeit with ferocious pace. 

After completing its tour around the country, it is fitting that Moulin Rouge! The Musical bookends its performances in Melbourne. After opening in late 2021, it is so pleasing to see a full Regent theatre relishing in the joyous, debaucherous performances again before this hugely successful musical hangs up its Can Can Skirts. 

Even if you saw this show recently, we strongly recommend re-indulging and immersing yourself in a world where freedom, beauty, truth and love reigns supreme.

Photo Credit: Michelle Grace Hunder

Following their success on the West End, 2:22 - A Ghost Story has officially opened in Melbourne, with the supernatural thriller set to bring Melburnian audiences to the edge of their seats.  

The captivating and ethereal theatrical masterpiece is an enchanting narrative around love, loss and the enigmatic realms of the afterlife. Written by Danny Robins and brought to life by director Matthew Dunster, we are introduced to the main characters at a dinner party hosted by Jenny and her husband Sam. Their guests, an old friend Lauren and her new partner Ben, are challenged to stay the night to experience the supernatural for themselves, when the house comes alive at 2:22. 

Whether or not you believe in ghosts, the audience is brought into a world where time, fate and the spirit realm converge in a mesmerising dance. The Australian production, interwoven with relevant Australian references, also stars an impressive cast of Australia's top talents with actors Remy Hii, Daniel MacPherson, Ruby Rose and Gemma Ward. The cast shine in the deeply immersive storytelling experience; bringing out the best in each other and forcing the audience to confront their beliefs about the unknown and the existence of an afterlife. 

The production has striking visual effects, innovating lighting design, and a hauntingly beautiful soundscape - including some of the character's party playlists to lighten the mood. The building of suspense and the raw intensity of the situation is entrancing and thought-provoking, and the play touches on the very essence of the human experience. 

2:22 - A Ghost Story is on for a limited season over the next four weeks until August 20. If you are interested in attending to check it out for yourself, please see a link to purchase tickets here. 

If you are looking for a musical that will sweep you off your feet with its heartwarming story, captivating music and talented performers, look no further than Once. Director Richard Carroll and musical director Victoria Falconer manage to bring this magical tale to life; telling the story of two people's chance meeting and the impact they have on each other's life. Set in Dublin, Once features quadruple threat performers who play instruments live on stage, creating a vibrant, immersive and intimate atmosphere throughout the show. A love story for the ages, the production explores what happens when you reach out and take a chance on your dreams. 

Once is based on John Carney's Academy Award winning film of the same name, and has won eight Tony Awards, four Drama Desk Awards, in addition to being awarded an Academy Award, a Grammy, and an Olivier Award. With the book being written by Enda Walsh, and music and lyrics by Glen Hansard and Markéta Irglová, the popular musical has well and truly arrived in Melbourne and is here to whisk you away. The story centres around a struggling Irish musician, Guy (Toby Francis), who is about to give up on his passion, when he meets a charming Czech piano-player, Girl (Stefanie Caccamo), who takes a sudden interest in his music. Together, they embark on a journey of discovery, friendship and romance, as they write and record songs that reflect their feelings. 

The performance in Melbourne is brought to you by the talented Darlinghurst Theatre Company after successful sold-out seasons in Sydney. The cast are incredible; with Francis and Caccamo's stunning vocals and chemistry further supported by a talented ensemble of actors and musicians. The musical is very funny, with characters Bank Manager (Anthony Craig) and Reza (Victoria Falconer) having their moments in the spotlight. It will genuinely surprise you how much you will laugh, when you are already feeling so many emotions throughout. The musical also features some memorable and emotional songs, including Falling Slowly, When Your Mind's Made Up and Gold. There is so much to marvel at with this one-of-a-kind musical, that you really have to see it for yourself to understand the magic within. 

Once is a musical that will touch your soul and make you feel alive. It's a rare gem that combines humour, emotion and music in such a unique and beautiful way while managing to avoid the usual clichés. Be sure to catch the show at the Comedy Theatre while you still can. 

Once

Dates: 6 May - 4 June

Location: Comedy Theatre, Melbourne

Times: Tuesdays - Saturdays 7:30pm, Saturday matinee: 2pm, Sunday 1pm & 6:30pm

Tickets: Purchase your tickets here. 

For phone bookings, call Ticketek on 1300 11 10 11 Monday - Friday between 9am and 5pm.