"Strong is the New Pretty clearly makes the point of the sacrifices, determination, multitasking and risk these women took and continue to take, aided by a group of men who shared their ambition," writes reviewer SAMARA PURNELL.
Review
"The rapturous applause from a capacity audience in Snow Concert Hall hailed the Sydney Symphony Orchestra with well-deserved praise," writes reviewer DAVID WHITBREAD.
Julie Andrews' recreation of the original My Fair Lady remains as gasp-inducing as ever, with Claire Lyon a bewitching Eliza and its celebrated designs still drawing applause, reviews BILL STEPHENS.
Dance Makers Collective joined forces with three Canberra dance groups for All in, but the strongest connection came when almost the entire audience joined the dancing, reviews MICHELLE POTTER.
LEN POWER reviews the Grevillea Quartet celebrating eight years together with an evening of vibrant Spanish dances, sublime Debussy and an irresistible urge to sway along.
MICHAEL WILSON reviews bass-baritone Jeremy Kleeman and pianist-composer Jack Symonds tackling Michelangelo's tortured poetry in a demanding recital of rare intensity and beauty.
Cellist David Pereira, violinist Chris Latham, harpist Alice Giles and pianist Arnan Wiesel proved a special combination in a program of chamber music delights, reviews DAVID WHITBREAD.
"The set may be a grand staircase and an even grander bookcase but the story of the Bennet sisters is being told by the female lower classes who scrub the floors and clean the loos," says reviewer ALANNA MACLEAN.
Simon Tedeschi astounded his audience with a masterclass in the piano... which is what you get when you ask your audience on arrival to nominate what they’d like to hear, says reviewer DAVID WHITBREAD.
From Elsa's show-stopping transformation to a scene-stealing sauna, Free-Rain Theatre Company delivers Frozen on an impressive scale, reviews BILL STEPHENS.
ANNA CREER reviews two new novels of historical fiction, one set in present and medieval times, the other in World War I.
ALANNA MACLEAN reviews the CSO strings under Jen Winley giving Bernard Herrmann's Psycho score the drive and menace it needs as Hitchcock's horror unfolds on screen.
