![Neel Kolhatkar invites his social media followers to sexually objectify him in #ObjectifyNeel.](/web/20170404050332im_/http://www.smh.com.au/content/dam/images/g/v/d/9/s/d/image.related.wideLandscape.300x169.gvd9lo.png/1491277941235.jpg)
Provocative humour clever yet immature
Neel Kolhatkar's delivery is polished and there are plenty of interesting ideas here, but his provocative gags seem to serve no higher idea.
Neel Kolhatkar's delivery is polished and there are plenty of interesting ideas here, but his provocative gags seem to serve no higher idea.
The South African comedian deftly handles earnest crowd contributions with warmth, ease, and without belittling or insulting anyone.
Mae Martin's routines are skilful and well-structured but her callbacks and concerns feel a trifle rote.
Artisan Fabian Scaunich says the once broken and dirty floor of 200,000 pieces will be ready for the Comedy Festival launch on March 28.
Tony Turner has wanted to direct this Victorian comedy – by the leading playwright of his day – for nearly 40 years because of his interest in the rise of realism in theatre.
A ensemble of Australian boys get a taste of dance through a staging of William Golding's dark, raw work.
The incoming Four Winds musical director is making his debut with tango, flamenco and other Latin sounds.
Choreographer Mariaa Randall explores the story of women and leaving a country for new places.
The classic musical returns in a new production by Free-Rain that seeks to emphasise the emotions of the story based on Victor Hugo's novel.
After the success of Tim Minchin's hit musicals Matilda and Groundhog Day, another Australian is heading to Broadway.
Much of the appeal of this new Australian musical about the women who work in a department store lies in the exploration of the social history of the times.
Austrian-born Ernst Toch's 1927 opera, in the hands of Victorian Opera, updates Hans Christian Andersen's fairytale to the digital age.
Melbourne Opera delivers a fine production of HMS Pinafore but it's almost too energetic for its own good.
As Opera Australia bumps in its spectacular restaging of Carmen outdoors on Sydney Harbour, we look at the feistiest women in the repertoire.
Neel Kolhatkar's delivery is polished and there are plenty of interesting ideas here, but his provocative gags seem to serve no higher idea.
The South African comedian deftly handles earnest crowd contributions with warmth, ease, and without belittling or insulting anyone.
Mae Martin's routines are skilful and well-structured but her callbacks and concerns feel a trifle rote.
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