Reviews

Like West Side Story and its original inspiration, Puccini’s La Bohème, Rent doesn’t date.  Despite its specificity – 1996, East Village, New York, the aspirations of the characters, and the persisting stigma and threat of the scourge of AIDS – audiences respond as if the story were yesterday.  The depiction of LGBTQI characters is more ‘acceptable’ to the mainstream, but AIDS isn’t ‘over’, and the show’s themes are as contemporary as ever: loyalty, friendship, the search for and risks of

The WonderWombs is performed by an all-female troupe, The Dust Palace, who hail from New Zealand. Established by circus and physical theatre aficionados, Eve Gordon and Mike Edward, they have been performing together for nearly 10 years. The WonderWombs starts as a kind of cabaret with a difference – this being the Wonderland Festival, it is a definite difference. With wicked Kiwi humour, the host introducing the show is a man in a suit – well, a pregnant Jess Holey Bates (who also directs) playing a man in a suit, an MC stuck for words.

Theatre producers often grapple with the task of attracting TV and cinema lovers off the couch and away from the dreaded Netflix. Two Man Tarantino is one of those concepts that’s designed to get those bums on seats. It’s energetic, pacey and superficially entertaining comedic work.

The Merry Widow or Die Lustige Witwe is one of the world’s most beloved comic operettas. Performed in three acts with the score by Franz Lehár (libretto in German by Viktor Léon and Leo Stein), it premiered on December 30, 1905.

Hanna Glavari is a wealthy young widow who Baron Zeta would prefer to marry a Pontevedrian, not a Frenchman, to keep her money in the country. The obvious choice is Count Danilo, but there is a problem. They are exes, and he is too proud to marry her because of her fortune.