A Celebration Of All Things Sparkling!

The Bubbles Festival 2026

The Bubbles Festival 2026 Rating

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The Bubbles Festival Melbourne: A celebration of all things sparkling!

Natalie Pickett founded The Bubbles Review 10 years ago, when her first blog educated those who thought Moet was spoken like the end of the word, “ballet”, with a silent T, when really, it’s pronounced “Mo-wett.” Natalie should know. When working as a tour guide in Europe, on a guided trip to Moët et Chandon, she confirmed this exact fact.

Natalie’s ‘Bubbles Reviewers’ Club’ offers members monthly rewards, tasting technique masterclasses and more discoveries and invitations via www.thebubblesreview.com

I met some of her club members on Saturday, 2nd May, for Bubbles Festival Melbourne, at River’s Edge Events in the World Trades Centre – in a room with a stunning view of the Skyline Wheel and Polly Woodside. Holding our complimentary Riedel sparkling glasses (included in our tickets), we were all thirsty to begin when Natalie welcomed our group and spoke about some important terms to remember before sampling the bubbles on offer. She reminded everyone to hold their glass by the stem, as best to view the bubbles in the middle. We were advised to enjoy the experience of each sparkling with each of our five senses; even holding the glass to our ears – as though listening to a seashell on the beach – and to take in the scent with our noses, as far as they’ll go into the glass before tasting.

“Bubbles – Just like a hug in a glass” and “ABC = Always Bring Champagne” slogans called to us from TV screens around the room. After this, we would visit all the Exhibitor tables to indulge in the exquisite selection.

In between tastings, we were served trays of various Canapés – including Truffle and Mushroom Arancini. We also indulged in a succulent seafood station and a cheese station – perfect bubbly food companions.

Ian was the friendly host from Clover Hill. He poured my first tasting with CLOVER HILL TASMANIA EXCEPTIONELLE MULTI-VINTAGE, (59% Chardonnay, 35% Pinot Noir, 6% Pinot Meunier) – a light straw/green hue in the glass, vibrant citrus and stone fruits on the nose and crisp acidity on the palette.

My second tasting was the CLOVER HILL TASMANIA ROSÉ MULTI-VINTAGE (66% Chardonnay, 29% Pinot Noir, 5% Pinot Meunier) with fresh vibrant strawberry notes upfront on the nose. The palate was layered and creamy with red forest fruits, to a balanced, long finish. This one was sweeter than the first and a little too perfumed for my taste – still a lovely sparkling.

My third taste was the CLOVER HILL BLANC DE BLANCS MULTI-VINTAGE – Tasmania with 100% Chardonnay. This one reminded me a tad of the lovely Billiecart-Salmon Blanc de Blancs Grand Cru NV from France. It too, is characterized by aromas of citrus, white peach, and brioche with a creamy texture.

Tasmanian cool-climate sparkling wines are dominating at the moment, having taken out all the trophies at the 2025 Australian Sparkling Wine Show and Clover Hill is no exception, having been recognised by The Real Review as one of the best producers in the country. They are consistently ranked among Australia’s top producers with a 5-star Halliday rating.

Ian had a fourth offer in CLOVER HILL ROSÉ D’ASSEMBLAGE MULTI-VINTAGE (63% Chardonnay, 29% Pinot Noir, 8% Pinot Meunier), which I didn’t get to sample as I felt drawn to the French table while there was a lull in the crowd.

 

 

I met Jean Paul at the Philippe Fourrier table for a quick chat. Since 1847, this family Champagne house located in Baroville, is anchored in an exceptional terroir, the Côte des Bar, in the south of Champagne appellation area.

JP’s first French pour was the CHAMPAGNE PHILIPPE FOURRIER – ROSÉ DE SAIGNÉE (NV) (90% Pinot Noir, 10% Chardonnay) with a light red to deep rosé hue and orange reflections, its fine and persistent bubbles adding elegance in the glass. The nose opened with ripe raspberry and fresh red berry aromas.

JP’s second French pour was LOUIS PERDRIER FRENCH BRUT (NV) – Bordeaux – France (100% Chardonnay), an exceptional French Sparkling. Deliciously toasty notes melt into the scent of golden apples. Gentle and harmonious on the palate with some richness tempering the citrus finish. For me, this was the best sparkling of the day.

The third French pour was CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – Champagne, France (100% Pinot Meunier), with a beautiful pale-yellow hue and fine bubbles bright in the glass. The nose offered fresh red fruit aromas of subtle blackberry, hints of peach and plum. This one seemed a tad light to me after the Brut.

Lastly, I met Kathy at the Sutherland Estate stand – a small, second-generation family-owned enterprise located at a picturesque location in Dixon’s Creek, a mountainous area, past Yarra Glen in the Yarra Valley. Her first pour was SUTHERLAND ESTATE – 2021 BLANC DE BLANC SPARKLING – Yarra Valley (100% Chardonnay). Made from 100% Chardonnay in the Méthode Traditionelle, with secondary fermentation and ageing in the bottle.

Kathy’s second pour was her SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO (100% Tempranillo.). This renowned sparkling red is unique because we don’t often see a Tempranillo here in Australia. Sutherland have been making it for more than 12 years, and it’s all grown onsite. It has spent twelve months in seasoned barriques before undergoing secondary fermentation on lees in the bottle made Méthode Traditionelle, having a powerful burst of mid-palate fruit of berries, dark cherries, a bit of liquorice, with peppery spice and earthy undertones to finish. The palate is medium-bodied and well structured, with fine tannins and a persistent bead. A great match with cheese and charcuterie. It had the power of a sparkling Shiraz and I’m keen to visit their Cellar Door for more.

I tried the SUTHERLAND ESTATE – 2025 SPARKLING ROSÉ (with 100% hand-picked Pinot Noir). Whole bunches of Pinot are harvested from the vineyard and come into the winery and straight into the press immediately leading to the gorgeous pale salmon colour. The aromas are bright and enticing with rose petal, strawberry and perfume. On the palate were strawberries and cream. A delightful summer’s drink, but for the last glass of the day, I had to return for one last taste of the Sparkling Temperanillo.

Illustrator, Susan Kerian, who some recognised from her work with retailer, ‘Blue Illusion’, returned to showcase her original illustrations – perfect for ‘Emily In Paris’ fans and Francophiles.

All sparkling wines and Susan’s artwork could be purchased on the day so, I happily departed with my order for delivery of four of the LOUIS PERDRIER FRENCH BRUT (NV) from Bordeaux, two of the CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – from Champagne in France and six of the SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO from the Yarra Valley, because according to F. Scott Fitzgerald, “Too much of anything is bad, but too much Champagne is just right.” Well, that’s my excuse and I’m sticking to it!

All of the exhibitors offered great deals for purchasing on the day. I’ve never understood why tastings sometimes don’t allow that, but at Bubbles Festival, you could take the wine with you on the day, or get it delivered later, which was ideal.
$5 from each ticket went to the Sacred Heart Mission, St Kilda. Natalie chooses a different charity to donate to in each of her state’s events.

It was a sunny 25degree day in Melbourne and I tasted some new and exciting Sparklings and Champagnes, met like-minded and vivacious souls, feeling the fresh bubble of life, therefore, I thoroughly recommend attending the Bubbles Festival.

Here are the other states’ Bubbles Festivals, coming soon:

Brisbane – 9 May 2026 – Get your tickets here!
Sydney – 22 & 23 May 2026 – Get your tickets here!
Adelaide – 6 June 2026 – Get your tickets here!
Perth – 20 June 2026 (TBC) – Join waitlist here!

To book tickets to The Bubbles Festival 2026, please visit https://thebubblesreview.com/the-bubbles-festival/.

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Sydney Dance Company’s Engine Ignites The Stage This August

Feature-Engine

Sydney Dance Company returns with Engine, an exhilarating triple bill uniting three bold choreographic voices—Rafael Bonachela, Fran Diaz, and Melanie Lane—in a dynamic program of contemporary dance.

At its core is Artistic Director Rafael Bonachela’s The Journey Itself is Home, a striking new work inspired by the writings of 17th-century Japanese poet Matsuo Bashō. Set to a score by Grammy Award-winning composer Bryce Dessner, the piece delves into the interplay between movement, memory, and place, offering audiences a deeply immersive and reflective experience.

Making its Australian premiere, The Mass Ornament by Berlin-based Spanish choreographer Fran Diaz reinterprets Siegfried Kracauer’s influential 1927 essay through a hypnotic contemporary lens. Accompanied by the evocative music of Henryk Górecki, the work explores themes of collectivity and connection, where individuality remains present within a powerful shared rhythm, creating a visually compelling and emotionally resonant performance.

Rounding out the program is Melanie Lane’s critically acclaimed Love Lock, a visionary reimagining of folk dance for a modern world. Drawing on shared cultural traditions and the urgency of global change, Love Lock is both celebratory and cautionary—highlighting dance as a unifying and transformative force. The production features intricate costumes by renowned Australian designer Akira Isogawa and an immersive electronic score by UK artist Clark.

Hailed by critics and audiences alike, Love Lock has received widespread praise:
★ ★ ★ ★ ★ “…choreographed with electric intelligence by Melanie Lane.” – Sydney Morning Herald
★ ★ ★ ★ ★ “Love Lock is a work of bold genius and unfiltered creativity… It’s a cult I absolutely want to join.” – BachTrack
★ ★ ★ ★ ★ “…Love Lock feels exceedingly contemporary. In fact, it feels like a glimpse into the future. You just can’t look away.” – ArtsHub
★ ★ ★ ★ “Each element of Love Lock is expertly crafted… a spectacular explosion of colour, richness and immersion that leaves the audience craving more.” – State of the Art

Engine showcases contemporary dance at its most daring—bringing together distinct creative voices in a program that is both intellectually engaging and visually captivating.

Program
The Journey Itself is Home – Rafael Bonachela
The Mass Ornament – Fran Diaz
Love Lock – Melanie Lane

Performance Dates: 5–8 August 2026
https://www.artsculturetrust.wa.gov.au/

 

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mil-aa-qa

mil-aa-qa

mil-aa-qa Rating

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5

‘Mil-aa-qa’ is a live studio cooking show, written and performed by Jude Soussan at The Blue Room Theatre. It was a pleasantly different experience from beginning to end. Jude, being the main character of two, explores food, chronic illness, culture and self-love, through an intimate and deeply personal lens, while being filmed by camera operator and AV assistant, Alleyne Aviles. The show within a show, reflects on how cooking and sharing meals can become one of the purest expressions of care, especially when living with dietary restrictions like coeliac disease. If cooking is your love language, you will also resonate with this show.

‘Mil-aa-qa’ transformed the intimate performance space into a Lebanese domestic kitchen. The mood felt warm and homely, while ‘Aunty’ (Jude) sings ‘Al Bostah’ while cutting onions as we entered. Bowls of spices, vegetables and traditional cookware were on display and the wider set extended into a carefully curated family living area. Generations of family history and inherited tradition were on display as framed personal photographs, floral prints, spice racks, lace doilies and dark wooden cabinets gave the room that cosy atmosphere you’d expect in grandma’s kitchen.

 

 

Through stories of growing up Lebanese while navigating illness and the social pressures usually unappreciated in Lebanese culture, Jude reveals the emotional complexity of food – both nourishing and harmful. During ‘ad-breaks’, Jude interacts with the audience, treating them as part of the show. A discussion on the impact of coeliac disease, the comorbidities of depression associated with the disease and what constitutes respectful behaviours reveal that there is much opportunity to educate on this topic. Jude successfully provided that education without lecturing, giving layers to the show, being both entertaining and thought-provoking.

‘Mil-aa-qa’ created an intimate theatrical world that felt authentic, emotionally layered and quietly cinematic. The show celebrates resilience and the longing to preserve traditions of hospitality and shared meals with people you love, but also highlighting that when you are not being considered, that can quickly turn into resentment. Jude achieves maintaining her passion for food on her own terms by being more creative with her cooking. So what begins as struggle, transforms into healing and cultural reconnection.
When the show ends, do not run out the door like we almost did. The audience were delighted to be invited by producer, Anja Starkiss, to try a warm bowl of her delicious cooking in the foyer. I’d tell you what it is, but I think you’d better try it for yourself!

‘Mi-aa-qa’ is showing at The Blue Room Theatre until May 9th.

To book tickets to mil-aa-qa, please visit https://blueroom.org.au/events/%d9%85%d9%84%d8%b9%d9%82%d8%a9-mil-aa-qa/.

Photographer: Apurva Gupta

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2026 Performing Arts Wa Awards Announce Winners Celebrating Excellence In Live Performance From 2025

Feature-2026 Performing Arts WA Awards

The 2026 Performing Arts WA Awards Ceremony, held on Monday 20 April in the Heath Ledger Theatre, celebrated achievement in Western Australian professional live performance in 2025, covering both mainstage and independent performances. Opera Dead Man Walking by Freeze Frame Opera was the biggest winner for the night, taking home five awards, including Outstanding Direction, Outstanding Lighting Design and Best Production.

Black Swan State Theatre Company of WA’s co-production with Belvoir St Theatre August: Osage County by Tracy Letts and independent theatre show Shadow of Doubt by The Blue Room Theatre & Fine Comb Theatre were also popular productions, picking up four awards each.

After Freeze Frame Opera, Black Swan State Theatre Company of WA was the next most awarded company, taking home a total of five awards. The Blue Room Theatre maintained their reputation as a hub for excellent theatre, with 10 awards for shows at the venue. The Lifetime Achievement Award went to veteran stage manager Jenny Poh, for her tireless work within the industry.

The inaugural Ripple Effect Award winner was James Berlyn. James’ tireless and quiet contribution has had a ripple effect to make change and to impact others. In his acceptance speech, James announced the prize money would fund a new artist residency opportunity at his West Berlyn Studios.

The Ripple Effect Award is a new award, to honour the legacy of the late Georgia Malone. A true champion of the arts, her incredible career has left a lasting legacy for the world. With continued funding and support from DCITS and Arts & Culture Trust, the awards continue to be held at Heath Ledger Theatre at State Theatre Centre. The awards themselves featured live performances from MATRIARX and Pam Boland, and were hosted with comedic wit by performers Luke Joseph Ryan & Wyatt Nixon-Lloyd. With a 20+ year history of recognising professional theatre, the Awards include dance, musicals, opera and cabaret across WA. The Awards celebrate the professional live performing arts in Western Australia. They are hosted each year by Artist Relief Fund WA, a charity which supports arts workers experiencing hardship.

Musical Urinetown by Western Sky Projects received the most nominations, up for fourteen separate awards. After Western Sky Projects, Freeze Frame Opera was the most nominated company with 9 nominations. Other big nominees include Co3 Contemporary Dance & The Australian Chamber Orchestra’s dance work IN THE SHADOW OF TIME with eight nominations; The Blue Room Theatre & Tone Lists’s O,D,E also snared eight nominations.

The event was supported by funders and sponsors: DCITS and Arts & Culture Trust WA, Steamworks Arts, CircuitWest, Architecture of Movement, George Kingsley, Media Entertainment & Arts Alliance, Moore Creative Artists, Perth Institute of Contemporary Art, Pigface Books; plus hospitality partners Otherside Brewing and West Cape Howe Wines. More information: www.performingartswaawards.com

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