Melbourne theatre, musical and dance reviews

The curse of the Kennedys hangs heavy over the sorry tale of Grey Gardens, the bittersweet and sour musical with a score by Scott Frankel, lyrics by Michael Korie and a book by Doug Wright.  The resplendent, 28-room mansion was once a jewel in the East Hampton crown, snapped up by Wall Street lawyer Phelan Beale in 1924. It stayed in the family for just over half a century, during which time its lustre would dull disastrously.  Jacqueline Lee Bouvier, the future First Lady herself destined for tragedy, would often stay there as a child with her little sister Caroline ‘Lee’, as guests of their musically inclined socialite aunt, Edith ‘Big Edie’ Ewing Bouvier Beale, Phelan’s wife. The girls were fast friends with Big Edie’s daughter, later dubbed ‘Little Edie’. The oft-absent Phelan sent word to Big Edie of their divorce by telegram shortly after the cessation of WWII, leaving her the house but very little means to maintain it. Little Edie left to pursue a showbusiness career in New York City but soon returned with her tail between her legs, her once-luscious hair lost to alopecia totalis.  Together they huddled, bickering in co-dependent disharmony as Grey Gardens gradually crumbled around them, filling up with festering rubbish as the water and heating failed, with the health department on the warpath alongside a cornucopia of cats, rats, raccoons, lice and fleas who promptly moved in. Yikes, this sounds like it’s too sad to handle?   Look, you will feel the feels...

In a year when Melbourne Theatre Company has committed to programming mostly new works by local writers, this production of Uncle Vanya by Russian playwright Anton Chekhov bucks that trend a little bit – with a new adaptation by world-renowned Aussie writer, Joanna Murray-Smith. Murray-Smith has dedicated much of her career to analysing the frailties and blind spots of middle-class Australians and is perfectly suited to tackle this particular Chekhov adaptation – freely adding in the occasional f-word and making concrete the comedy in a play that focuses a lot on boredom. A play about boredom? Is it a bore? Chekhov’s work has lived in a complicated space between comedy and tragedy and each production has to give his text a tweak to figure out where it will land each time. Murray-Smith turns up the comedy, without losing sight of the inherent drama, while also giving female characters like Yelena and Sonya more clear interior lives and agency than the original suggests. This version of the play is masterful, crafting a new vision, without compromising what Chekhov was exploring. Uncle Vanya focuses on the owners and managers of a Russian estate, dissecting the deep-seated feeling they have wasted their lives. Enter Yelena, married to esteemed professor Alexandre Serebryakov, whose first wife used to own the home. Vanya, brother to Alexandre’s first wife and manager of the estate, and local doctor, Astrov, fall for Yelena and try to seduce her in an attempt to add some...

It’s a play considered to be one of the greatest of all time, and after undergoing a show-stopping run in 2023, 'Death of a Salesman' – with award-winning stars Anthony LaPaglia and Alison Whyte reprising their roles – is returning to Melbourne once again. Showing from August 11 to 22, Arthur Miller’s inimitable play will be staged at Her Majesty’s Theatre for a limited season that you don't want to miss.  First performed in 1949, the Pulitzer Prize-winning production explores the promises and pitfalls of the American Dream. The two-act tragedy is told through a montage of memories, confrontations, arguments and dreams of protagonist Willy Loman who tries to navigate what it means to be successful in post-war America. For more info and to secure your tickets, head to the website. Read on for our four-star review of Death of a Salesman from 2023. *** The curtains of Her Majesty’s Theatre open on Neil Armfield’s magnificent production of Arthur Miller’s Death of A Salesman to reveal a towering grandstand; rusted and weather-stained, ‘Ebbets Field’ printed across the top of its commentary box. All but one of the 14-strong cast are sitting on the bleachers, waiting. "Willy?", Linda Loman asks as her husband limps on stage holding two suitcases. It’s one of the most recognizable images of 20th-century theatre, and it’s keenly watched by the entire ensemble. Miller’s Pulitzer Prize-winning script seemed like a death knell for the American Dream when it premiered in 1949, but 70...