Theatre and musicals in Melbourne this week

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

When Heather Mitchell embodied the late, great Ruth Bader Ginsburg in RBG: Of Many, One on the Sydney stage in November 2022, her performance lingered with everyone who witnessed it.  A great legal mind, feminist, and later, improbably, a pop culture darling, Ginsburg continues to have an outsized impact on culture. Mitchell made her performance of this icon feel expertly effortless. With the script by barrister-turned-playwright Suzie Miller (of Prima Facie fame) and direction by Priscilla Jackman (White Pearl), this trio of powerhouse women did justice to the notorious RBG, and made incredible theatre in the process. (Which also inspired STC’s similarly acclaimed follow-up play, Julia, about the impetus of Julia Gillard’s famous misogyny speech.)  As Divya Venkatarmaran wrote in her four-star review for Time Out: “RBG: Of Many, One is a sweeping but satisfying portrayal of its subject’s life, delving into its main subjects with grace and patience, in (a relatively short) 90-odd minutes. And it’s an unexpectedly funny watch...” If you missed it, don’t feel bad – we just received news that will turn that FOMO around. Sydney Theatre Company announced today that RBG: Of Many, One will be returning in 2024 for an extensive Australian tour including seasons in Sydney, Melbourne, Brisbane and Canberra – and Heather Mitchell will be reprising the role.  The national tour of RBG: Of Many, One will open at the Drama Theatre, Sydney Opera House in February 2024, Canberra Theatre Centr

After a stellar opening in Sydney, Bell Shakespeare’s A Midsummer Night’s Dream is going on tour – and the next stop is Melbourne. The classic comedy will be calling Arts Centre Melbourne home from April 25 to May 11.  Kicking off a jam-packed 2024 season, Bell Shakespeare’s A Midsummer Night’s Dream tells the tale of love and mischief over one magical night where fairies, runaway lovers and bumbling actors get entangled in an enchanted forest. Follow along as a talented ensemble of cast and creatives reimagine the magical play, led by director Peter Evans who has pared back the play to 110 minutes and done a spectacular job at reinventing the timeless tale for a new audience. The all-star cast includes Ella Prince playing Puck, along with Ahunim Abede as Hermia, Isabel Burton as Helena, Mike Howlett as Demetrius, Matu Ngaropo as Bottom, Richard Pyros as Oberon, Imogen Sage as Titania and Laurence Young as Lysander. Tickets range from $40 - $110 and you can book them here.

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

“I thought you were going to tell me I didn’t need the pills anymore,” says eighteen-year-old Anna (Max McKenna) to her child psychiatrist, Vivienne (Louisa Mignone). Anna has completely misread the tenor of the conversation, which was actually about the need for her to transition towards seeing a therapist trained to work with adults. This early moment encapsulates the key struggles of The Almighty Sometimes, a coming-of-age story illustrating a young woman torn between emancipation and comfort, with the reality of a never-defined yet ever-present mental illness adding layers of complexity to what would otherwise be a universally relatable tale.  This multi-award-winning drama by Kendall Feaver has been staged in Australia before by Queensland Theatre and Griffin Theatre Company, yet the issues explored in this iteration from Melbourne Theatre Company feel topical and fresh with tight direction from Hannah Goodwin.   Screen legend Nadine Garner (Savage River, Neighbours, City Homicide) plays Renee, a school teacher and dedicated mum to ‘troubled’ daughter Anna. Alongside Anna’s new boyfriend Oliver (Karl Richmond) and her psychiatrist, Renee grapples with supporting her daughter as she pushes against the routines and limits that kept her safe during her adolescence.  Having recently rediscovered pages upon pages of her childhood writings, Anna has begun to wonder if the version of her that existed before she went on medication was a child prodigy destined for literary greatn

It's been almost 27 years since a certain bespectacled boy came out from under the stairs and learnt of his snake-conversing, broomstick-flying, billions-making powers. And he's as popular now as ever, spawning films, spin-off films, toys, games, apps and multiple stage adaptations – only one of which is, well, actually authorised. Whether you missed Melbourne’s record-breaking four-year run of Harry Potter and the Cursed Child, or you’re just looking to fill the void, Potterheads are in for a treat. Who wants to sit through six hours of theatre anyway? Potted Potter – the hilarious show that condenses the entirety of the Harry Potter series into a tight 70 minutes – is ready to reunite Aussie audiences with the antics of Harry, Ron and Hermione. (We are assuming show creators Daniel Clarkson and Jeff Turner glide over a lot of the endless camping that takes up an enormous amount of Deathly Hallows.)  The show has been touring for more than 15 years, and has even played Off Broadway and on the West End. Now, Potted Potter is returning to Australia for the fifth time with a stint at Melbourne's Athenaeum Theatre from April 24–May 5. So go on, relive Harry's days at Hogwarts. Although the show wasn't written by You Know Who, what it lacks in intellectual property compliance it more than makes up for in laughs. We're pretty sure Fred and George Weasley would approve. Tickets range from $69 to $89.95 and times vary, book yours here. Stay in the loop: sign up for our free Time Out