Things to do in Melbourne today

Melbourne Uni’s swish new, blue-hued Union Theatre seats 398 people. It’s a number made quietly devastating by Western Sydney playwright S Shakthidharan’s sprawling family epic Counting and Cracking.  Spanning almost 50 years, four generations and multiple countries – connecting Colombo, the capital city of Sri Lanka, to Sydney – much of what occurs is informed, one way or another, by the terrifying devastation of Sri Lanka’s Civil War. The fighting was ignited by the Black July riots of 1983, a pogrom that cruelly claimed countless souls. Bob Hawke’s Labor government offered 100 visas to the predominantly Tamil minority fleeing the country-wide wave of violence, or one for every fourth audience member. A pin-drop moment. But there’s much more on offer here than grasping despair.  It’s been five long years since Belvoir St Theatre first presented Counting and Cracking at the Sydney Town Hall during the 2019 Sydney Festival. Having travelled around the world since, snapping up a bunch of awards along the way, it’ll land in New York in September. But first, Melbourne audiences can see this glorious work of love and understanding as part of Rising.  Opening with a flourish of culture-clash comedy, an abundantly effervescent Shiv Palekar’s awkwardly topless Siddhartha is deeply uncomfortable about wading into the Georges River. He’s been ordered to do so by his overbearing yet bountifully loving mum Radha (a fabulously commanding Nadie Kammallaweera) to ceremonially scatter the a

It's baaack! After two hugely popular winter seasons, Melbourne's favourite illuminated event is returning in 2024. From June 14 to August 4, take a nighttime stroll through the Royal Botanic Gardens and experience luminous pathways, lit-up tree canopies, soothing soundscapes and brand new installations. "We are thrilled to see Lightscape returning for its third year. The Gardens provide an exquisite canvas for us to create a magical world of light, nature and wonder," said David Harland, director and chief executive of the Royal Botanic Gardens Victoria. "In 2024 we have a few surprises up our sleeve as we build on the experience to make it exhilarating for both returning and first-time visitors." For the upcoming season, you can expect a reimagined 2.2km trail accompanied by stunning lakeside reflections, large-scale illuminated sculptures and other wonders, with more than 100,000 tiny lights on display. New in 2024 is 'Submerged', an immersive work where you walk through thousands of suspended lights as the installation changes colour in response to the movement. Also making its Australian debut is 'Lily' by French artistic studio Tilt – it's a series of abstract, three-metre-tall glowing flowers that will captivate people of all ages. Most importantly, you'll also be able to grab a bite to eat and warming drinks at the Welcome Zone or along the trail. They say that Melbourne is at its best in winter and events like Lightscape, where you can rug up and join friends for a m

Sunset Boulevard’s Norma Desmond is a magnificently complex creation. Originally depicted by Gloria Swanson in Billy Wilder’s magnetic 1950 movie, she’s the star of countless silent movies, a living legend accruing thousands of adoring fans during her heyday. But the talkies took over Hollywood, and her light was cruelly dimmed, sending her retreating to her decaying hilltop mansion with loyal butler Max Von Mayerling (Erich von Stroheim). While Norma cuts a tragic figure in her middle ages as the story begins, she can still command a room. “I am big. It’s the movies that got small,” she acidly enunciates at down-on-his-luck movie writer Joe Gillis (William Holden in the movie) when he unexpectedly shows up at her door. Spying a way back to the spotlight through his words, she sets him to work on her chaotic Salome screenplay, abusing her money as power over him. As a noir-tinged chamber piece, Sunset Boulevard hangs on this increasingly twisted relationship, dancing between dark and the light as moments of hope are dashed to doom. It’s just the stuff The Phantom of the Opera maestro Andrew Lloyd Webber thrives on, eventually securing the story after a tortuously long ‘will they, won’t they’ that thwarted both Swanson and Stephen Sondheim. Webber’s soaring musical adaptation – with Phantom-like stirrings over a book and lyrics by Don Black and Christopher Hampton – returns to Australian stages, care of Opera Australia, almost thirty years after Debra Byrne and Hugh Jackman ta

Rising is back for sixteen nights across three weekends from June 1-16. As a chill settles over the city, the festival returns with a nocturnal vengeance boasting a packed line-up of 116 events. Choose from a mix of free and ticketed options for performances and installations encompassing theatre, music, dance and art.  Wander through large-scale installations, micro-bars and everything in between as our landmarks and labyrinthine laneways are drenched in a new light. A whopping 651 Australian and international artists will gather to warm Melbourne’s spirits, in a festival celebrating contemporary creativity of all kinds. There’ll be eight Australian premieres, six global premieres and 32 new commissions – nice! This year, the festival’s action-packed Night Trade Hub will sprawl through the laneways around the Capitol Theatre to Howey Place, featuring interactive art, dumplings, dance and more — with free entry. The line-up for this area has also recently been expanded to include psychic readings, karaoke and a full club program. Night Trade Stage Door will host six different late-night DJ parties throughout the festival, for those who want to dance with somebody. Down the road, Fed Square will play host to The Blak Infinite, a vibrant free program of First People’s art and politics. Kimberley Moulton (the curator behind last year’s Shadow Spirit installation) and Kate ten Buuren (Taungurung) have curated the expansive exhibition, anchored by Embassy, Richard Bell’s installat

Broad Encounters, the folks behind last year’s large-scale, free-roam production Love Lust Lost and 2019’s A Midnight Visit, have announced another immersive show opening this June. This time around, they’re embracing the immediacy of a smaller-scale space, with their latest show billed as an intimate soirée for small groups. When Night Comes is a multi-sensory theatrical experience that promises to be intoxicating in more ways than one. Set across fantastical yet hedonistic spaces, those who dare to enter will be introduced to a dark, decadent and delicious den where the cocktails are as enticing as the gazes of the cast.  Expect sublime sounds, visions, tastes and feelings – it’s all part of the celestial show. The production is set within a section of Collingwood’s Austral Theatre, one of Melbourne’s original beloved dance halls which first opened in 1921. The building will be demolished soon to make way for apartments, so this could be one of your last chances to take a peek inside Melbourne’s history. Head over to Collingwood from June 11 to catch When Night Comes for a strictly limited season with sessions already selling fast. Tickets are from $63 and available until August 3. Head to the website to book now.  Stay in the loop: sign up for our free Time Out Melbourne newsletter for the best of the city, straight to your inbox.  Feeling theatrical? Check out the best theatre and musicals happening in Melbourne right now.

After acclaimed performances in Sydney last year, Melbourne Theatre Company is bringing Julia to the Southbank Theatre stage from May 31 until July 13. This production from Sydney Theatre Company and Canberra Theatre Centre documents one of the most pivotal moments in Australian political history: former Prime Minister Julia Gillard's famous 2012 'misogyny speech'. Demand for this play looks to be robust, so we recommend heading to the Melbourne Theatre Comany website to secure your tickets sooner rather than later. Time Out Sydney reviewed Julia when it played at the Opera House in 2023. Read on for that four-star review:  When Julia Gillard’s distinctive ocker voice first emerged from Justine Clarke’s mouth on Opening Night of Sydney Theatre Company’s production of Julia, the audience literally gasp-screamed. It was, without mincing words, pretty freaky.  STC’s production of Julia is a long-awaited response to one of the most iconic (and spicy) speeches made in Australian history. Written by Joanna Murray Smith, directed by Sarah Goodes, and starring national treasure Justine Clarke as Julia Gillard herself, this deeply Australian story is an amorphous re-imagining of all the forces that led up to that moment in 2012 when Julia Gillard so perfectly and viscously roasted Tony Abbott in the House of Representatives.  Julia is an intoxicating and fascinating experience that hits something deep and resounding within us We all know *that speech* (and if you don’t, watch it right

Grab your wands and your Hogwarts house tie, because a brand new magical experience that is every Potterhead's dream is coming to Melbourne. Harry Potter: A Forbidden Forest Experience is apparating to the Mornington Peninsula in 2024, with a mystical encounter that will have you living out your witch or wizard fantasies in the muggle world. Follow in the daring footsteps of Harry himself through the infamous Forbidden Forest, where you'll meet hippogriffs and unicorns, as well as cast powerful spells. The outdoor trail adventure will lead you on a fully immersive journey, finishing with a Potter-themed village that has food, drink and merch on offer. Warner Bros is bringing this exciting experience Down Under after whirlwind success in the US, UK and Europe, with the Forbidden Forest making its Australian debut deep in the woods of Mt Martha next April.  Suitable for fans of all ages, tickets for this magical experience are on sale now. You can find out more on the website here.  Looking for more fun things to do in Melbourne? Check out what's on this week here. 

My first encounter with the viridescent power of Wicked was through the sliding door of a suburban dance studio. Face pressed against the glass, I strained to hear the optimistic refrains of ‘One Short Day’, eyes bulging and dopamine levels skyrocketing. So widespread is the pop-cultural impact of this fan favourite musical, that half of Melbourne likely has a similar memory of discovering Wicked.  This faithful revival of the bewitching blockbuster sees the show fly into Melbourne for the third time in 15 years with an abundance of pine-hued pizazz, after celebrating the 20th anniversary of its Broadway premiere at the Sydney Lyric Theatre. It’s also worth noting that the Gregory Maguire novel that forms the basis of the plot was published back in 1995. After all this time, it’s only fair to check in and ask: does Wicked remain evergreen? The costumes, choreography and sets are as slick as they come, which is exactly what’s expected from a show that’s had this many chances to get it ‘right’. This version of Wicked is not reinventing the wheel – instead it’s the cast who keep the cogs turning in a fresh way.   There’s no mistaking that these performers are magical. While Melbourne always loves to get a show before Sydney, our advantage here is that the cast has had time to fully take command of their characters – and they’re flourishing.  Courtney Monsma’s G(a)linda is slap-your-knees, let-out-a-squeal funny. She re-shapes the virtue-signalling mean girl role and makes Glinda

Consider yourself formally invited to the Bridgerton Ball, courtesy of the Queen herself. Step back in time to the Regency era in London and dance across a grandiose ballroom with other esteemed guests at this immersive experience based on the hit Netflix TV show. The Queen's Ball: A Bridgerton Experience is coming to Melbourne for its Australian debut, after smashing success across the United States (and plenty of viral TikTok moments). At the Queen's Ball, prepare to be entranced by beautiful period costumes, live music (straight from the show's soundtrack) and elaborate theatrical performances. You will also get to meet enchanting characters and witness a love story unfold before your eyes.  Bridgerton's mysterious columnist Lady Whistledown will be your guide for the event as you learn Regency dance steps, visit Madame Delacroix's modiste for a fitting, uncover secrets and try to win Her Majesty's favour as she looks to choose her 'diamond of the evening'.  Plus, there are recreations of the show's set that are perfect for photo ops and special themed cocktails to enjoy at the after-party when you cut loose on the ballroom dancefloor. The attraction's arrival in Melbourne is almost perfectly timed for the highly-anticipated release of Bridgerton's third season on May 16, so there's no better way to get around the hype.  The Queen's Ball will waltz into Melbourne on May 24, with a party every Friday, Saturday and Sunday evening until June 23. You can sign up for the waitli

There’s something about the Immigration Museum’s overwhelmingly vast Long Room – which does what it says on the tin plus being tall – that gives Met Gala.  The room’s high-drama feeling is only amplified by the arrival of lithely limber Chunky Move dancer Enzo Nazario. He appears, dragging a vast cape from his shoulders, at the other end of the hall from where Rising audiences have been assembled in a horseshoe-shaped arrangement of chairs. This cape is not red carpet-ready haute couture, however. It’s actually a giant white balloon in the process of inflating, rather alarmingly.  Discarding this strangely absorbing creature on the rust-red, stone-cold floor on which we’ve all been asked to abandon our shoes, a fluffy pink short-suited Nazario moves into the semi-circle we’ve formed as the gargantuan shape continues to spread across the floor behind him. He’s joined by Samakshi Sidhu, who dons a boxy post-box-red jacket that’s a bit Talking Heads on top of a dark green, sleeveless jumpsuit with a subtle sheen. Together they cut an intriguingly gender-queer scene, amplified by their spectacular floor work. As choreographed by Chunky Move’s artistic director, Antony Hamilton, their powerfully unmooring movements mess with pas de deux traditions, each sharing the other’s weight in wildly dismantling ways that amaze. All the while, the flailingly pale creation steadily consuming the hall behind them attempts to steal our attention. This transfixing oddity is eventually punctured