Melbourne's theatre scene might look to be totally dominated by a certain boy wizard in 2019, but there's another big show headed our way from Broadway. Come from Away is set to open at the Comedy Theatre in July.
Did we need a musical based on Bring It On, the popular 2000 cheerleading movie that had so much to say it needed five sequels? It’s not the worst idea, but we did not need this iteration of Bring It On, which suffers from turgid dialogue, forgettable songs, a predictable and overdone plot, and at least in this production, a significant lack of pep.
There’s no individual who has had a bigger influence on modern theatre than ye olde William Shakespeare. So it makes sense that he’s a central character in Melbourne Theatre Company’s biggest show for 2019.
Zindzi Okenyo will finally be front and centre where she belongs when she stars as the whip-smart Beatrice in Bell Shakespeare’s new production of Much Ado About Nothing. In case you missed reading it at school, Much Ado is pretty much the original romantic comedy, and features one of Shakespeare’s most-loved couples, Beatrice and Benedick.
Malthouse's artistic director Matthew Lutton is working with award-winning Scottish playwright David Greig on this adaptation of Stanisław Lem’s seminal sci-fi novel. It’s been turned into two films in the past, but Greig is going back to the original source material to tell a story about a mysterious planet where visitors encounter the ghosts of long-lost loved ones.
The first rule of Harry Potter and the Cursed Child, is that you don’t talk about Harry Potter and the Cursed Child. Safeguarding spoilers is an expected responsibility for anyone who attends the Potter-verse’s first on-stage outing. There’s even a hashtag: #KeepTheSecrets.
Independent theatre and/or less than $50
The mysterious and macabre works of Edgar Allan Poe are scary enough when they're just on a page, but what happens when they burst to life across 34 rooms in a two-storey abandoned North Melbourne warehouse?
You’ve really got to hand it to Red Stitch for consistently bringing the best and brightest plays from overseas to our shores. Alistair McDowall’s play Pomona is no exception, receiving rave reviews when it premiered at London’s Orange Tree Theatre in 2014, before transferring to the National Theatre.
Whether it’s addiction, obesity or overconsumption, it’s fair to say that humans have a certain bent towards self-destruction. So why do we it? Performer Mitch Jones (aka Captain Ruin) was inspired to ask the question after the addiction-related death of a friend left him reeling.
In 1929, as part of her seminal work A Room of One’s Own, Virginia Woolf famously declared that “a woman must have money and a room of her own if she is to write fiction”.