MAN ABOUT TOWN

Co-founded in 1984 by former accordionist, stilt-walker and fire-eater Guy Laliberté (whose personal wealth is now estimated at US $2.6 billion, according to Forbes Magazine ), Cirque du Soleil is a globally successful entertainment brand, with an estimated annual income exceeding US $810 million thanks in part to popular touring productions such as OVO , which opened in Melbourne last night. Based purely on the skill level of its participants, OVO – a fantastical, anthropomorphised view of the insect world; Microcosmos with acrobats – is spectacular in the extreme. However it is also strangely passionless, a garish spectacle over-produced to within an inch of its life and almost entirely lacking in emotion and drama... Read the full review over at artsHub .

Monday night was New Year's Eve, and I had the pleasure of doing something rather special that evening. Instead of rocking up to a house party or a bar, I was one of many Melburnians lucky enough to score themselves tickets to the opening night of War Horse: Based on British author Michael Morpurgo’s 1982 children’s book, War Horse is the story of Joey, half-thoroughbred and half-draft horse, and Albert Narracott, the country boy who loves him. When Joey is sold to the army by Albert’s drunkard father, becoming a cavalry horse amidst the horrors of the Great War, 16 year old Albert goes to great lengths to bring Joey home, struggling through trenches and gas attacks in a seemingly fruitless quest to be reunited with his steed. Adapted for the stage by Nick Stafford in association with Handspring Puppet Company, the National Theatre of Great Britain’s War Horse is a magnificent spectacle, featuring sophisticated and striking stagecraft and remarkable life-size ho...

And so 2012 has come to a close, with the stage production of War Horse (which I attended last night) as my final live performance for the year, and show number 122 for the year. That's a pretty good tally, and ranges across most art forms: circus, cabaret, comedy, physical theatre, dance, and both independent and mainstage theatre. (I haven't included live music in that tally for some reason - must remember to correct that this year. Nor did I see any opera; something I should also try and change in 2012.) My tally of shows for 2012 compares well to previous years, too: in 2008 I attended 88 live performances; in 2009, I saw 102 productions; 2010 was a bumper year with 137 shows; and 110 in 2011. Listed below, in chronological order, are my 2012 performance highlights (eagle-eyed readers may not that this list replicates in part an earlier list published in 3RRR's subscriber magazine T he Trip ; this is the expanded version).   The Year of Magical Wanking Sta...