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Only good things can come from this collaboration, surely.

I keep thinking how well this might have worked.

37 Melbourne Theatre Company is terrific and I recommend it unreservedly. Hilarious, endearing and inclusive, it's also uncompromising about the chasm in black/white relations in this country. theguardian.com/stage/2024/mar…

Of course Red Stitch have their hands all over this meal. You don't get naturalism this convincing without very fine actors. Hold the black mushroom cream, baby, I wanna go back for seconds! theguardian.com/stage/2024/mar…

There's something special about seeing this extraordinary Geelong company in Geelong. Finishes tonight, then coming to Malthouse Theatre in May. theguardian.com/stage/2024/apr…

Given we'd loved this on the #VPLA judging panel, it was little surprise this was so fine in performance. @kendallfeaver is such a talent, and this is a truly terrific play. theguardian.com/stage/2024/apr…

I found this somehow too much and not quite enough. Fascinating playwright and noble production. The sum of its parts?

This was absolutely terrific. The production leaps out the gate and drives its powerful and tragic message home. Tix still available but selling very fast, from my understanding.

Heide Museum's new exhibition #HairPieces has opened and is wonderfully weird and uncanny, full of fascinating work and complex associations. I thoroughly recommend it. theguardian.com/artanddesign/a…

When we indulge in the rhetoric of "winners and losers" in #2024budget responses, we reinforce the idea of society as a competitive, grabby race to the bottom. Media has learnt nothing since the ultra-cynical pork of Costello and Howard. Be better than this, FFS.

Go big or go home. That's the principal takeaway from my review of Opera Australia's #Tosca. But if you'd like to read it yourself, he she is: theguardian.com/stage/article/…

#SunsetBoulevard with #SarahBrightman is an example of stunt casting at its worst. It seems almost sadistic – not to call it out, (critics are often blamed for this) but to expose her like this. theguardian.com/stage/article/…

As a reminder that I do actually like theatre, here's my recent review of Back to Back Theatre's #MultipleBadThings currently playing Malthouse Theatre. Forget #SarahBrightman and go see these incredible theatre makers from #Geelong. theguardian.com/stage/2024/apr…

#Julia Melbourne Theatre Company is elevated by a superb performance from #JustineClarke and should be seen for that alone. The play, though, is frustratingly hagiographic, as politically insightful as a wikipedia page. Glib and self-satisfied conclusions. Disappointing overall.

Writer's irritant #207: you can't just say something's evocative and leave it at that. That makes no sense. Evocative of what?! It's like saying that tune sounds like. Thank you, goodbye.

It's going down in history, this play. And this is likely your last chance to see it. theguardian.com/culture/articl…

A reminder of my thoughts on the Red Stitch production of #WhosAfraid from last year. If anything, this show has improved over time. It's quite astonishing. theguardian.com/stage/2023/nov…

A misfire, pure and (not so) simple.

Walking and talking with Namila Benson for Guardian Australia was an unmitigated delight. Sure, she's warm, generous and so funny, but she's also a total firebrand. theguardian.com/lifeandstyle/a…

The #Tasty raid was a key moment in the lives of Melbourne's #queer scene, and it resonated in ways still being felt. What to do with all that rage and resentment? Well, party, party, party of course!! theguardian.com/australia-news…