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Two women and five men inside a house. You can see a darkened sky outside.
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Theatre review: And Then There Were None, Comedy Theatre

The best selling crime novel of all time receives another stage adaptation.

LON Gallery Booth C2 with a duo presentation of Jeremy Eaton and Stephen Benwell, installation view, Melbourne Art Fair 2025. A white walled space inside a grey convention centre. On the walls are canvases of soft yellow, green, orange and purple hues, while small earthenware sculptures are lined up on a plinth in the centre of the space.
News

Best of Melbourne Art Fair 2025

ArtsHub's annual round-up on what to see at Melbourne Art Fair.

An African Australian woman with long dark haired tied back, a Caucasian woman with a messy blonde bun, an Indian man with a black bun and a Caucasian man with short blond hair sit around a pit with sand in it drinking espresso martinis on stage set decorated like a Turkish restaurant. Never Have I Ever, Melbourne Theatre Company.
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Theatre review: Never Have I Ever, Fairfax Studio

Both witty and wily, Deborah Frances-White's play makes for a very entertaining night in the theatre.

Maroon-coloured seating and curtains resembling those of a theatre.
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Immersive review: Invisible: Darkfield, Adelaide Fringe

From out of the darkness, a voice beckons you to embrace the chaos.

An illustration of a girl in profile. she is carrying a book. There are also books in the cloud above her.
News

To read or not to read?

A new report surveys the reading habits of different segments of the Australian population and offers advice to motivate wider…

Features

The art of musical comedy

When you add music to your stand-up, you can take your shows to a whole other level...

A young man holding onto a young woman. The lgiht around them is night-blue.
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Musical review: Hadestown, Theatre Royal Sydney

While some elements are impressive, others are undercooked and underwhelming.

Two figures in shadowed darkness in the middle of the stage holding onto each other. Heavy drapery surround them with red tones.
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Theatre review: Our Monster’s Name is Jerry, Theatre Works

Gothic tropes are explored, but without the promised scares.

Ryuichi Sakamoto in mixed-reality, ‘KAGAMI’. A virtual image of Sakamoto playing a black grand piano in a limbo or dark virtual space.
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Mixed-reality concert review: KAGAMI, Asia TOPA 2025

In this one-on-one encounter with Ryuichi Sakamoto, ‘KAGAMI’ is a tender, yet ambitious, ode to life and death.

Features

Asia TOPA 2025: revitalising the spirit of the Asia-Pacific in Melbourne

Back after a break, Asia TOPA offers a place 'where ideas are born and traditions reimagined'.

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