Melbourne Festival review: Double Think, Journeys of Love and More Love

Byron Perry's new dance work Double Think opens in complete darkness in the vast space of the North Melbourne Town Hall. To the rhythms ...

Melbourne Festival review: Whiteley's Incredible Blue, Foley

La beauté, “Beauty is difficult, Yeats” said Aubrey Beardsleywhen Yeats asked why he drew horrorsor at least not Burne-Jonesand Beardsley kn...

Melbourne Festival review: Political Mother, The Magic Flute

When Hofesh Shechter debuted here during Brett Sheehy's first Melbourne Festival, I was in the UK and missed it. So it's fair to say...

Melbourne Festival: Aftermath

A pointer to my review of New York Theatre Workshop's Aftermath, which I saw at the Perth Festival earlier this year, and which opened i...

Melbourne Festival review: The Manganiyar Seduction, Rhinoceros in Love

Much has been said about The Manganiyar Seduction, a stunning theatrical presentation of Rajasthani music, and no doubt I will simply add an...

Melbourne Festival review: Assembly

One of the strongest aspects of this year's Melbourne Festival program is the local performance. I can remember a time when under-develo...

Melbourne Festival review: Ganesh Versus The Third Reich

I've been dithering over this post for days, trying to find a way in to writing about this extraordinary show. As with Back to Back'...