Mama Alto’s Torch Songs at the Melbourne Recital Centre shows why she’s one of Australia’s most essential voices, says Ben Keene
Music theatre
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A celebration of love and life, Come from Away is a winning musical about a small town’s community spirit in the wake of the 9/11 terror attacks, says Monique Grbec
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Modern Māori Quartet: Two Worlds is a delightful and profoundly moving opening to Big World, Up Close, says Alison Croggon
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The exhilarating Victorian College of the Arts production of Fucking A was a rare chance to see one of the US’s most significant playwrights, says Alison Croggon
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‘Something crucial is missing’: Robert Reid is uninspired by Opera Australia’s West Side Story
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Teen critic Gully Thompson is disappointed by the stage adaptation of David Walliams’ Billionaire Boy
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‘As a post-apocalyptic imagining of a US “bombed back to the Stone Age” by its own energy industry, it expresses the dread that pierced the brittle armour of western invulnerability when the proxy wars finally came home’: Alison Croggon on Lightning Jar’s Mr Burns
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‘It’s only February, and I think I’ve already seen the show of the year’: Carissa Lee on the scorching music theatre work Barbara and the Camp Dogs
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Funny, angry, anarchic and moving: Alison Croggon reviews Old Stock: A Refugee Love Story
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‘This is how theatre used to be immersive before the fourth wall: a participatory ritual of joy and storytelling and song.’ Robert Reid on Calamity Jane