With this fabulous, fast-tempoed spectacle of sizzle and sass, Michael Hurst once again proves himself an exceptional director of musical theatre.

As Michael Houstoun nears the end of his heroic Beethoven reCYCLE series revisiting the 32 Piano Sonatas, I am reminded of a comment that the pianist made back in 1989.

New series has tear-jerker tales and a whiff of scandal, says Sarah Lang.

Russell Baillie reviews Arcade Fire's sprawling new album, Reflektor.

Anyone troubled by the madness that has swirled around the late King of Pop can rest assured that this time the craziness is safely in the hands of true professionals.

Norton's excitability still locked on maximum as 14th series starts, writes Colin Hogg.

On-stage chemistry and audience rapport keep the laughs coming during a weekend of adventures.

The best thing about the Royal New Zealand Ballet's biennial travelling show is getting up close and personal with performances in smaller venues.

Oscar-winners Dukakis and Fricker are the buddies in this buddy comedy that is equal parts heartfelt and funny, even if the humour is often of the broad kind

Russell Baillie reviews Television's Auckland show.

Richard Curtis, who wrote the screenplays for Four Weddings and a Funeral and Notting Hill and was the writer/director of Love Actually.

This part of the world doesn't lack for docos on Sir Edmund Hillary. And arguably this latest big screen one doesn't tell us anything countless small screen studies over the years haven't already.

I've been off travelling, weathering several weeks on end without casting more than a passing eye at television, writes Colin Hogg.

Capacity audiences enjoy Tempo's closing weekend of established pieces and works in progress.

We are Pasifika was a big night for Manukau Symphony Orchestra, and we were in the stadium of the Vodafone Events Centre rather than the customary concert hall..

Prisoners certainly holds you captive. From its deer-hunting opening scene, to its vexing conclusion two and half hours later, this crime thriller drags you into its world of dread and hurt and, at its own deliberate pace, barely lets up.

Formally rigorous and supremely controlled, this wonderfully designed and costumed biographical drama by the austere and provocative Dumont moves so slowly it can seem to be happening in real time.