Greg Bruce takes his daughters to Disney on Ice and is warmed by its artistry and action

The Dust Palace flies high in fundraising show which defies the limits of the human body.

Having slayed the rap game, SWIDT have bigger targets in sight.

Lexus Song Quest has a special place in our musical calendar and ongoing cultural history.

Past and present brought together in masterful exploration of life under siege.

Town vows to improve racial and religious tolerance after Who Is America? aired.

Chelsea Jade makes up for a lack of new material with a selection of rock-solid bops.

The new album HAJA is an awesome mix of cultures, voices and sounds.

Is there such a thing as an album so chill you almost forget to listen to it?

Jaime Martin and NZSO have fun with Shostakovich's Festive Overture, writes William Dart.

Antonello Palombi won hearts with his rapturous "Celeste Aida", writes William Dart.

Prepare for family to be humming Abba songs over the coming weeks

Dark Tourist is macabre, weird as hell but also...kind of wonderful.

Tami Neilson takes on the patriarchy with more sass than we've ever seen.

New Zealand's Thomasin McKenzie shines in this feature from the director of Winter's Bone.

Mammoth weaves a story of extinction, survival and hair together in a neat whole.

Giordano Bellincampi launched APO's Beethoven 7 concert with a welcome taste of Danish.

The Chairs is a strange linguistic experiment but also a rather bizarre cultural one.

Teyana Taylor's album could've been great, but was Kanye's project the right time for it?

The Royal New Zealand Ballet delivers a show with panache and impeccable timing.

School holidays mean that Tim Bray Productions will stage one of its plays for children.

On Florence Welch's fourth album, she dials things down – with diminishing returns.

The Basement Theatre celebrates Matariki with two very different plays worth seeing.

Anna Murray revisits all of the 7pm offerings to decide who reigns supreme.

NZSO and conductor Harth-Bedoya came to town with a curious (and rather short) programme.

Murky depths of Jacobean drama are chillingly illuminated in Michael Hurst's production.

Give Derren Brown this: he knows how to get attention.

150 years after Little Women was released, the story is, depressingly, still relevant.

The evening was entitled Brahms & Tchaikovsky, but NZ composer Gareth Farr shone.

The programme opened with three chorale preludes from Bach's Orgel-buchlein.