Music theatre

Modern Māori Quartet: Two Worlds is a delightful and profoundly moving opening to Big World, Up Close, says Alison Croggon

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

‘Something crucial is missing’: Robert Reid is uninspired by Opera Australia’s West Side Story

Teen critic Gully Thompson is disappointed by the stage adaptation of David Walliams’ Billionaire Boy

‘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

‘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

Funny, angry, anarchic and moving: Alison Croggon reviews Old Stock: A Refugee Love Story

‘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

Gothic has strong moments but ultimately feels like a superficial exploration of the genre, says First Nations Emerging Critic and goth fan Carissa Lee

‘A yearning for simpler times, simpler narratives and endless familiarity’: Robert Reid reviews Andrew Lloyd Webber’s School of Rock