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World Premiere: Opera Australia’s New La Bohème Brings Snowy Paris To Melbourne This November

24/09/2026 Breaking News

Opera Australia (OA) will unveil a shimmering new production of Puccini’s beloved opera La Bohème at the Regent Theatre, Melbourne in a World Premiere season from 7-18 November.

The first new mainstage production of one of the world’s most famous operatic tragedies by OA in 15 years, this production is set in the winter wonderland of 20th century Paris, recreated through the eyes of the painters, poets and musicians of its time.

One of Australia’s most exciting opera directors, Constantine Costi, will lead a talented team of young Australian creatives to envision this new La Bohème, including Set Designer Dann Barber, Costume Designer Sabina Myers and Lighting Designer Morgan Moroney.

Spectacular set pieces, including a flying balloon basket and life-sized, on-stage floats, will bring a painting-inspired set to life, with glorious scenery hand painted by OA’s talented team of scenic artists, with magnificently detailed and richly coloured costumes, all crafted by hand at OA’s headquarters.

La Bohème will star a luminous cast of international and Australian singers, including Melbourne-born Alexandra Flood who will sing Musetta in a highly-anticipated homecoming season, while award-winning soprano Galina Cheplakova, in her Australian debut, will share the heartbreaking role of Mimì with Italian soprano Valeria Sepe, who makes a welcome return to OA.

Quickly becoming one of the most sought-after young lyric tenors in the opera world, Australian Chinese tenor Kang Wang will share the role of Rodolfo with award winning Italian Paride Cataldo, who will also perform with OA for the first time.

Under the baton of acclaimed British conductor Finnegan Downie Dear, making his OA debut, will be the brilliant Orchestra Victoria, internationally acclaimed Opera Australia Chorus and Opera Australia Children’s Chorus.

Puccini’s timeless music captures the power of love, the beauty of youth, and the sheer joy of being alive and in this production it finds new life once again by a whole new generation of talented creatives and performers.

Creatives
Conductor Finnegan Downie Dear
Director Constantine Costi
Set Designer Dann Barber
Costume Designer Sabina Myers
Lighting Designer Morgan Moroney
Movement & Assistant Director Shannon Burns

Performance information
7.30pm: 7, 10, 11, 12, 13, 14, 17, 18 November
2:00pm: 8, 15 November
Regent Theatre, Melbourne
Running time: Approximately 2 hour and 15 minutes.
Performed in Italian with English surtitles.

Cast
Mimì: Galina Cheplakova (7, 10, 12, 14 & 17 Nov), Valeria Sepe (8, 11, 13, 15 & 18 Nov)
Rodolfo: Kang Wang (7, 10, 12, 14 & 17 Nov), Paride Cataldo (8, 11, 13, 15 & 18 Nov)
Musetta: Alexandra Flood
Marcello: Luke Gabbedy
Schaunard: Stephen Marsh
Colline: David Parkin
Benoit/Sergeant: Clifford Plumpton
Alcindoro: Simon Meadows
Officer: Tom Hamilton
Parpignol: Benjamin Rasheed
Orchestra Victoria
Opera Australia Chorus
Opera Australia Children’s Chorus
Opera Australia Actors

Bookings
Adult tickets from $79 (fees may apply)
Opera Australia Box Office (03) 9685 3700
www.opera.org.au

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Beyond Good and Evil: Lord of the Flies Examines the Darkness Within

23/09/202623/09/2026 Nicole Salinger⭐⚡🎭🎪

Lord Of The Flies Rating

★★★★★

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In today’s world, where the terms ‘unpredictability’ and ‘uncertainty’ have become part of our everyday vocabulary, is it no wonder that we, as a society, are craving more and more control over our lives? To feel safe, repetitive routines and rituals are formed. Activities and nutrition fuel our bodies and minds. Social connections satisfy our need for feeling valued and accepted.

And yet, beyond our scope, there are greater forces that exist in our world that we have no control over. Circumstances of good vs evil; of hate and suffering; of larger-than-life power plays beyond our human understanding. So we look for strong leadership (of countries, corporations or institutions) to restore peace and harmony. To fix and put right. To give us hope. To make us feel safe once more.

But, as humans, are we naive to think that peace is the answer to eradicating evil? Or does evil exist as part of our nature, if all hope is lost?

In director Steven Mitchell Wright’s reimagining of Nigel Williams’ adaptation of Lord Of The Flies, we examine how the science of evil can slowly creep into the human psyche, and seek to dismantle order and destroy others in its wake.

From the moment I enter the theatre, award-winning director Steven Mitchell Wright transports me in a moment of childhood innocence, where a deeply-slanted white stage faces in towards the audience, exemplifying a pure boys-being-boys existence: (played by adolescents and non-gender actors). Boys playing joyful sport together, free as flies, even in an uncertain world.

When these boys are put on a plane out of England to escape an atomic war, crash-landing on a remote island, we are witness to a different kind of battle – the survival-of-the-fittest. We are transported to a land where the forces of good are distorted slowly into evil – from innocent boys basking in adventure to descending into tribal warfare. Asking us: if evil is rooted in our nature – or borne from ego-driven madness?

For in this no-holds-barred classically brilliant production, Wright looks at every line in the script and explores the timing of its statements for a new generation. Much like looking into a mirror, he begs us to ponder: Have rules become cloudier? Has leadership lost even more of its meaning? Has the ball of ‘authority’ become so weak and so disposable, that it can be thrown around willy-nilly, like an Aussie rules football, when it comes to our modern survival? Or does it come complete with sharpened spears and a winning-at-all-costs mindset?

Brilliantly played, staged and choreographed, Steven Mitchell Wright’s immersive staging also places modern technology at the forefront of his production to amplify the madness of evil. Actors carry a selfie stick with an iPhone camera projected onto the stage to amplify the terror of savagery. A dance mob forms to symbolise freedom with undertones of carnal desires and the birth of wild savagery. Animalistic chants and wild physical movements intensify the killer instinct of a hunter seeking its prey. Boys in fight-or-flight mode constantly on guard – losing their train of thought in a world without routine, becoming animal-like in nature. The effects of red lights depicting madness, effectively created by lighting designer Ben Hughes and alerting sounds of nature infiltrating our minds, such as tropical thunder and rain pouring down, were effectively created by sound designer Jack Burmeister – inviting us into the fearful world existing even within nature itself.

The cast of this show were no less than exceptional. Angus Leighton as Ralph exemplified the exact leading man energy and machismo required to play a budding showman, a leader in looks, and in bark; with no bite. Yet, watching his character’s ego-crushing demise was both heartbreaking and riveting.

Sean Yuen Halley as Jack commanded the stage immediately with his intense energy of unapologetic arrogance and ferocity, seeking to seize control of everything in his world, yet losing control of himself in the process. Jack’s descent into madness was depicted so methodically and so seamlessly, launching into what appeared to be a devil-like possession that was flawlessly executed.

But in the role of Piggy, my most highest of accolades goes to Oliver Cowen. Wearing his heart on his sleeve, Cowen brought the audience to tears with his angelic presence, beyond the obvious childhood taunts and physiological judgements: to symbolise the moral compass within us all. Cleverly balancing the show out with the hope – that there is good in people. For this alone, I congratulate Cowan as not only embodying the backbone of this production, but the heart and conscience of this show as well.

All in all, this production of ‘Lord Of The Flies’ is a must-see. It is an exceptional production for the 2026 season at Theatreworks that should not be missed.

To book tickets to Lord Of The Flies, please visit https://www.theatreworks.org.au/2026/lord-of-the-flies.

Photographer: Image 1: Oliver Cowen and Angus Leighton Image 2: Sean Yuen Halley, Oliver Cowen, and Angus Leighton Image 3: Blaise Tindale, Oliver Cowen, Charlie Veitch, Sean Yuen Halley, Oliver Gorringe, Declan Magee, Darcy Crawford, William Bastow

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Final Tickets For Sydney Season Of A Beautiful Noise: The Neil Diamond Musical Released

22/09/2026 Breaking News

Feature-A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL

Producers Paul Dainty AO and TEG Dainty, Ken Davenport and Bob Gaudio are thrilled to announce the final release of tickets for the smash-hit Broadway musical A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL. Due to overwhelming demand, the season has been extended by five weeks through to Sunday 14 February 2027, with ticket presales commencing today and tickets to the general public going on sale Friday 25 September from ticketmaster.com.au.

The musical is currently playing at Melbourne’s Princess Theatre and has received extraordinary praise from critics and audiences alike.

“Full of spectacle and humour, emotion and nostalgia, and of course, the music.” – The Age
“An abundance of rich, memorable songs, and energy to burn.” – The Guardian
“A Brilliant Show” – The Today Show (Richard Wilkins)
“This is a dazzling blockbuster of a show that honours the singer-songwriter’s career and legacy.” – Time Out
“A thrilling, nostalgic and deeply moving celebration of the man behind the music.” – Stage Whispers

The Australian cast of A BEAUTIFUL NOISE is led by Broadway star Will Swenson in the titular role Neil Diamond – Then, bringing his acclaimed, award-winning performance to Australia for the very first time. Joining Swenson is an exceptional company of Australian talent, featuring principal cast members Terence Crawford (Neil Diamond – Now), Ashleigh Rubenach (Marcia Murphey), Monica Sayers (Doctor), Alana Tranter (Jaye Posner), Tim Wright (Fred Weintraub / Tommy O’Rourke), Paul Hanlon (Bert Berns / Kieve Diamond), Hannah Fredericksen (Ellie Greenwich / Rose Diamond), with Rob Mallett (Standby Neil Diamond – Then), and Mark Owen Taylor (Standby Neil Diamond – Now, Fred Weintraub / Tommy O’Rourke, Bert Berns / Kieve Diamond).

Rounding out the company as “The Beautiful Noise” ensemble are Katrina Bickerton, Cameron Davey, Paul Leandre Escorrido, Matt Hourigan, Alana Iannace, Jerome Javier (Swing), Joshua Kobeck, Etuate Lutui (Shilo soloist), Anna Mallows (Swing), Jordan Malone, James Maxfield (Swing), Isabella Roberts, Sophie Tzioumis, Emma Wilby (Swing), and Erica Wild (Swing).

Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chartbusting, show-stopping American rock icon. With 140 million albums sold, a catalogue of classics like “Cracklin’ Rosie”, “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway – and the world.

Like Jersey Boys and Beautiful: The Carole King Musical before it, A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL — from the Australian producers of TINA – The Tina Turner Musical — is an inspiring, exhilarating, energy-filled musical memoir, that tells the untold true story of how America’s greatest hitmaker became a star, set to the songs that defined his career.

Neil Diamond’s connection with Australia spans nearly half a century of music and memories. He has toured here seven times with promoter Paul Dainty AO, from the landmark Thank You Australia tour in 1976 through to 2015, with his music resonating deeply with audiences. His iconic 1972 live album Hot August Night spent 29 weeks at number one and 65 weeks on the chart, making it the third-longest-charting album of its era in Australian music history.

A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL is directed by Tony Award winner Michael Mayer (Spring Awakening, Hedwig and the Angry Inch), choreographed by Olivier Award winner Steven Hoggett (Once, Harry Potter and the Cursed Child), and written by four-time Academy Award nominee Anthony McCarten (Bohemian Rhapsody, The Two Popes). The design team for A BEAUTIFUL NOISE features Tony Award winner David Rockwell (Scenic Design), Tony Award nominee Emilio Sosa (Costume Design), four-time Tony Award winner Kevin Adams (Lighting Design), Tony Award winner Jessica Paz (Sound Design), and Luc Verschueren (Hair, Wig and Make Up Design). The production has Music Supervision and Arrangements by Sonny Paladino, Incidental Music and Dance Music Arrangements by Brian Usifer, Vocal Design by AnnMarie Milazzo, and Orchestrations by Bob Gaudio, Sonny Paladino, and Brian Usifer.

Final tickets for the Sydney season of A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL, through to Sunday 14 February at the Sydney Lyric, go on sale this week.

SEASON DETAILS SYDNEY
Venue: Sydney Lyric, Pyrmont
Season: Previews commence on Saturday 14 November
Performance Times: Wed-Sat 7.30pm, Wed/Thu/Sun 1pm, Sat 2pm, Sun 6.30pm
Prices: From $69 (Transaction fees apply)
Bookings: Visit ticketmaster.com.au or phone 02 9509 3600
Groups 10+: Visit ticketmaster.com.au or phone 1300 558 878 Mon-Fri 9am-5pm
Groups 10+: Email groups@ticketmaster.com..au

SEASON DETAILS MELBOURNE
Venue: Princess Theatre
Season: Playing now through to Saturday 7 November
Performance Times: Wed-Sat 7.30pm, Wed/Thu/Sun 1pm, Sat 2pm, Sun 6.30pm
Prices: From $69 (Transaction fees apply)
Bookings: Visit ticketek.com.au or phone 1300 665 915
Groups 10+: Visit ticketek.com.au or phone 03 9299 9873 Mon-Fri 9am-4pm
Groups 10+: Email groups@marrinergroup.com.au

SEASON DETAILS BRISBANE
Venue: Lyric Theatre, QPAC
Season: Previews commence on Saturday 20 March, 7:30pm
Performance Times: Wed-Sat 7.30pm, Wed/Thu/Sun 1pm, Sat 2pm, Sun 6.30pm
Prices: From $69 (Transaction fees apply)
Tickets: Visit qpac.com.au or phone 136 246
Groups 10+: Contact QPAC Groups Department qpac.com.au or phone 07 3840 7466
Groups 10+: Email groups@qtix.com.au

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Monty Python’s Spamalot

21/09/202621/09/2026 Liv Carlisle🥉

Monty Python’s Spamalot Rating

★★★★★

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This Saturday, I was able to attend the opening night of Monty Python’s Spamalot at the Atheneum Theatre in Melbourne.

The production advertises itself as “a new musical lovingly ripped off from the motion picture Monty Python and the Holy Grail” and the atmosphere inside the theatre stayed true to this sentiment, with audience members being welcomed in to lively music and clips from the original Monty Python films. Once everyone was seated, the audience was treated to a lively animated opening credits sequence, introducing the cast and setting the tone for the rest of the evening.

For myself, and for many other Australian acting fanatics, one of the major draws of this production of Spamalot, is the opportunity to see Stephen Curry in the lead role of King Arthur. Curry is one of Australia’s most beloved character actors, who many will recognise from his role as Dale Kerrigan in The Castle, and he steps into the role of King Arthur with the grace and expertise expected of him. He truly embraced the chaos and tongue in cheek humour that flows through Spamalot, giving it his own touch of comedic disdain and aloofness.

While Curry may be the biggest name on the call sheet, he is, by no means, the only star of the show. Flowers must also be given to (the aptly named) Jaz Flowers who played the featured role of the Lady Of The Lake. This self proclaimed diva showcased some powerhouse vocals and well executed comedic timing as well as a consistent stage presence that, alongside Curry, provided a grounding contrast amongst a cast of many changing characters.

Credit must also be given to the ensemble dancers, Grace Williams, Danielle Gibson, Jacinda Tsakalos, Emily Huynh, Will Basson and Ethan Churchill, captained by Dominique Hamilton and choreographed by Suzi and Jamie Rolton. From tap to cancan, from showgirls to cheerleaders, these dancers embraced a variety of characters and styles to fill out the performance.

Monty Python’s Spamalot is a very specific brand of humour. It may have been opening night emotions, however the energy and enthusiasm showcased by the entire cast (and, in occasional moments, the crew) infected the whole audience. There were many laughs, cheers and occasional gasps throughout the entire show. The use of animated backdrops (sourced from Aquixel Studios) provided opportunities for fast paced jokes that would otherwise be impossible onstage and the show’s self awareness of its own limitations (smaller set pieces, no horses) turned those elements from shoddy to funny.

To book tickets to Monty Python’s Spamalot, please visit https://www.athenaeumtheatre.com.au/.

Photographer: Ben Fon

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