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& Juliet
Photograph: Courtesy Matthew Murphy& Juliet

Critics' choice theatre shows in Melbourne

The best new and upcoming Melbourne theatre, musicals, opera and dance

Written by
Time Out editors
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Our theatre critics spend a scary amount of time sitting in dark rooms, so they usually know what it takes for a production to light up Melbourne's stages. Here are all their tips for the best shows to see right now

For more Melbourne theatre information, check out our latest reviews and our guide to scoring cheap theatre tickets.

Critics' choice Melbourne shows

  • 5 out of 5 stars
  • Theatre
  • Musicals
  • Melbourne
  • Recommended
The “Matilda for grown-ups” comparisons are true: this Australian premiere burrows all the way down into the depths of despair and climbs triumphantly back out again, all within two snappy acts.  As per the classic 1993 film starring Bill Murray, Groundhog Day takes place on a very big day in a very small Pennsylvanian town. Each year on February 2, a large rodent emerges from his burrow to predict when winter will end. The Olivier Award-winning and Tony Award-nominated Andy Karl stars as Phil Connors, the jaded weatherman who gets sucked into a time loop covering the perky celebration over and over (and over) again.  A musical adaptation of a film about becoming a better person runs the risk of feeling twee. However, Tim Minchin’s zingingly clever lyrics and Danny Rubin’s gutsy book take the essence of the film and wring out considerably more depth and grit to give the musical its own more mature personality. What would you really do if you were trapped repeating the same average-at-best day forever? Groundhog Day takes this premise and stretches it to all its thorny extremes, and isn’t afraid to get dark as hell in the process. This is a musical that fully embraces its format, combining unabashed theatrics with some A-grade scumbag antics and moments of heart wrenching depression from Phil. Each scene takes things a step further than expected, whether that be into malarkey or melancholia, and is all the better for it. Andy Karl’s performance as Phil is nothing short of supe
  • 5 out of 5 stars
  • Theatre
  • Musicals
  • Melbourne
  • Recommended
My first encounter with the viridescent power of Wicked was through the sliding door of a suburban dance studio. Face pressed against the glass, I strained to hear the optimistic refrains of ‘One Short Day’, eyes bulging and dopamine levels skyrocketing. So widespread is the pop-cultural impact of this fan favourite musical, that half of Melbourne likely has a similar memory of discovering Wicked.  This faithful revival of the bewitching blockbuster sees the show fly into Melbourne for the third time in 15 years with an abundance of pine-hued pizazz, after celebrating the 20th anniversary of its Broadway premiere at the Sydney Lyric Theatre. It’s also worth noting that the Gregory Maguire novel that forms the basis of the plot was published back in 1995. After all this time, it’s only fair to check in and ask: does Wicked remain evergreen? The costumes, choreography and sets are as slick as they come, which is exactly what’s expected from a show that’s had this many chances to get it ‘right’. This version of Wicked is not reinventing the wheel – instead it’s the cast who keep the cogs turning in a fresh way.   There’s no mistaking that these performers are magical. While Melbourne always loves to get a show before Sydney, our advantage here is that the cast has had time to fully take command of their characters – and they’re flourishing.  Courtney Monsma’s G(a)linda is slap-your-knees, let-out-a-squeal funny. She re-shapes the virtue-signalling mean girl role and makes Glinda
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  • 4 out of 5 stars
  • Theatre
  • Musicals
  • Melbourne
  • Recommended
There has been a disappointing run of big name shows underserved by low-key production design of late, with both the revivals of Rocky Horror and Grease seriously lacking in the razzle-dazzle department. So why does a similarly stripped-back staging of musical maestro Bob Fosse and Fred Ebb’s Chicago pull it off, like so many of the cast’s silken mesh costume changes? Perhaps something in the bare bones of this deceptively dark comedy, set in the Windy City in the fast and loose 1920s, lends itself to simplicity? Delivered via a sassy brawl between warring molls Velma Kelly (Zoë Ventoura) and Roxie Hart (Lucy Maunder), it’s a broken bottle-sharp commentary on an America that values celebrity crime most malignant over justice and the good of heart, that cuts even deeper now we’re staring down the barrel of a possible second Trump term. That swirling, prophetic darkness lends itself well to scenic designer John Lee Beatty’s darkened stage flanked by cabaret chairs and dominated by a bandstand atop which gamely charismatic musical director James Simpson leads a brass-heavy band through John Kander’s razzmatazz music.  “Give ‘em an act with lots of flash in it, and the reaction will be passionate … What if your hinges all are rusting? What if, in fact, you’re just disgusting?”The contradiction is inherent in the work. And so when Roxie opens the show by shooting dead the beefy but not bright Fred Casely (Devon Braithwaite, a stand-out in a spectacular ensemble) because he had the

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