Andrew Fuhrmann
Andrew Fuhrmann is a dance critic for The Age.
Melbourne Fringe
Melbourne live reviews
A blacksmith forge and a return to the Tamagotchi era? This festival has it all
From the secrets of a public library to dating roulette, this year’s Fringe is in full swing. Keep an eye on our ever-growing list of reviews here.
- by Andrew Fuhrmann, Cameron Woodhead, Cher Tan, Donna Demaio, Giselle Au-Nhien Nguyen, Guy Webster, Hannah Francis, Vyshnavee Wijekumar and Sonia Nair
Latest
These two pieces are beautiful – but they don’t fit together
With Études and Circle Electric, The Australian Ballet is bringing together the new with the classical. Separately, they work. Together, less so.
- by Andrew Fuhrmann, Cameron Woodhead and Tony Way
The transcendent play that cuts to the heart of what it means to be human
In its exploration of two different relationships, the Pulitzer-winning play Cost of Living is truly great theatre.
- by Cameron Woodhead, Vyshnavee Wijekumar, Michael Dwyer, Tony Way and Andrew Fuhrmann
‘Triumphantly Wildean’: Oscar is a daring experiment in ballet storytelling
The first full-length narrative production commissioned by The Australian Ballet in more than 20 years is a stunning all-round achievement.
- by Andrew Fuhrmann, Cameron Woodhead, Bridget Davies and Tony Way
Helen Garner says this is the best thing she’s written. But does it work as an opera?
With a theme leaning so heavily on music, it’s not a surprise The Children’s Bach was adapted into an opera – but does it keep its magic when taken off the page?
- by Vyshnavee Wijekumar, Bridget Davies, Andrew Fuhrmann, Tony Way, Jessica Nicholas and Barney Zwartz
Everybody’s talking about ‘grace’. This is how it looks in action
Directed by Bert LaBonte in his mainstage directorial debut, the Pulitzer Prize-winning Topdog/Underdog at Melbourne Theatre Company is utterly transfixing.
- by Cameron Woodhead, Andrew Fuhrmann, Gemma Grant, Giselle Au-Nhien Nguyen and Tony Way
If you hate Henry VIII then this is the musical for you
It would appear that & Juliet has been pipped at the post by Six the Musical for the poppiest show ever inspired by the 16th century.
- by Cameron Woodhead, Vyshnavee Wijekumar, Andrew Fuhrmann, Bridget Davies and Barney Zwartz
Any fan of Oscar Wilde should enjoy this salacious twist on his masterpiece
This take on The Importance of Being Earnest isn’t just terrific fun, it’s tethered to a deep appreciation of the interplay between Wilde’s biography and his art.
- by Cameron Woodhead, Jessica Nicholas and Andrew Fuhrmann
Lady Macbeth deserves a better fate. Does this play offer that chance?
Horrors both supernatural and human abound in this creative and provocative re-working of The Scottish Play.
- by Cameron Woodhead, Barney Zwartz, Andrew Fuhrmann, Vyshnavee Wijekumar, Michael Dwyer, Jessica Nicholas and Tony Way
This moving and vibrant Rising show is a must-watch
Gurr Era Op, a beautifully composed dance theatre piece, is like a sea breeze: it blows strong and tastes fresh.
- by Andrew Fuhrmann, Cameron Woodhead, Tony Way and Vyshnavee Wijekumar
One of Melbourne’s most underrated bands return home and blow off the roof
At first, indie duo Good Morning and the Melbourne Recital Centre seemed like an unusual match. But then the music started.
- by Will Cox, Andrew Fuhrmann and Brodie Lancaster
Original URL: https://www.theage.com.au/by/andrew-fuhrmann-p536uw