![Oslo Davis.](/web/20161001051215im_/http://www.smh.com.au/content/dam/images/g/r/s/o/4/m/image.related.wideLandscape.300x169.grsmph.png/1475226406632.jpg)
Cartoonist Oslo Davis makes like Mr Squiggle in live story book with puppets
Things have come a long way since Mr Squiggle but using live pictures to tell stories is as magical as it ever was.
Things have come a long way since Mr Squiggle but using live pictures to tell stories is as magical as it ever was.
"Technical issues" kept me from reviewing this production of Christopher Harley's new play until now. Watching what is a low-key, well-made staging, I found myself wondering what those issues could have been.
The annual gathering of Australia's musical diaspora that is the Australian World Orchestra no doubt recaptures the fond, careless raptures of a youth music camp for its players, as well as kindling cultural pride in the rest of us.
Mama Alto's memorable show-tunes and 1950s nostalgia ensure a real good time.
Daniel Keene's intensely moving play was written for its solo actor who is magnificent.
A new theatre troupe's use of deaf actors and Auslan with English surtitles is both frustrating and intriguing no non-Auslan audience members.
"It's a big year for the ladies," says the Australian Ballet's artistic director David McAllister. "Our program really reflects the strength of our women and not just in the principal ranks."
The Australian Ballet has dug into its archives to present Coppelia.
The latest work from renowned Melbourne choreographer Lucy Guerin makes its international premiere at Melbourne Festival next week.
The story of conjoined twins Daisy and Violet Hilton was a less than modest success on Broadway when it debuted in 1997. This production directed by Richard Carroll throws light why Side Show never really hooked a wide audience.
Minutes after Cyndi Lauper praised Callum Francis, he locked himself in the bathroom
The Canberra premiere of the musical presenting an alternative take on a famous story has some experienced talent for the lead roles.
You can't help but think that if Gertrude Stein were alive, she'd give the Victorian Opera's new production of Four Saints in Three Acts two thumbs up.
On Saturday, after half a century of neglect, came the big thaw.
The stolen generations has become a central story in contemporary Australia and this telling, by a member of that generation, goes to the heart of our sense of self.
Returning from Edinburgh to an audience of nine, Joshua Ladgrove decides to improvise, to hilarious effect.
Wes Snelling's affecting vocals amp up the pathos for a singer who has seen better days.
The actors' fast wit and familiarity with the bard will please fans of Shakespeare and philistines alike.
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