Monthly Archives: March 2025

Review: Amber (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Mar 28 – Apr 11, 2025
Playwright: Nikita Waldron
Director: Mehhma Malhi 
Cast: Harry Stacey, Ashan Kumar, Kurt Ramjan, Esha Jessy, Nikita Waldron
Images by Phil Erbacher

Theatre review
There must be more to her life than boys, but in her eponymous play Amber by Nikita Waldron, it certainly appears that her entire existence is shaped only by a series of romances and dalliances. From the age of fifteen, all Amber wanted was to find love, but unlike the books, movies and tv shows that form a regular cultural diet of high school girls some twenty years ago, things do not happen quite so easily.

Directed by Mehhma Malhi, Amber is a surprisingly earnest work that perhaps takes youth angst slightly too seriously. A greater exploration into comedic dimensions would deliver better entertainment, but the production’s dedication to the real concerns of girls like Amber, is a commendable one.

Waldron takes on the role of Amber, convincing at any age (from early teen to young adulthood) in the character’s evolution. Her performance lacks an organic quality that could make the material’s sentimentality ring true, but her verve helps sustain our attention. A commensurately vibrant supporting cast adds further zest to the piece; Harry Stacey, Ashan Kumar, Kurt Ramjan and Esha Jessy create the many likeable personalities who come in and out of Amber’s orbit.

Set design by Hailley Hunt is appropriately sanguine in approach. Lights by Izzy Morrissey, along with sounds by Madeleine Picard, are memorable for comical punctuations they introduce at choice moments.

There are some segments in modern societies, where we are able to provide so much for our young, that they seem unable to worry about anything but frivolous matters. We then become frustrated and resentful of their apathetic attitudes towards the bigger things, after having ensured that they circumvent challenges previous generations have had to tolerate. One wishes that Amber could expend her energies in more meaningful ways, but it appears that she has been shielded from so much, so that the only vulnerable aspect left to her existence, are matters of the heart.

www.oldfitztheatre.com.au | www.eswrkrs.com

Review: The Glass Menagerie (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), Mar 21 – Apr 26, 2025
Playwright: Tennessee Williams
Director: Liesel Badorrek
Cast: Danny Ball, Blazey Best, Bridie McKim, Tom Rodgers
Images by Prudence Upton

Theatre review
Tom’s mother Amanda is pushing him to find his sister Laura a beau, hoping that a gentleman caller would be their ticket to an improved existence. It is St. Louis in the Great Depression of the 1930s, and the Wingfields have little to live for. In Tennessee Williams’ The Glass Menagerie, characters are in a state of psychological paralysis, inert in their daily misery, unable to dream up better ways to be.

There is a fear at the centre of who they are, that director Liesel Badorrek expresses well in her version of the American classic, with an ensemble that delves deep into the psychologies of these troubled souls. Actor Blazey Best ensures that we empathise with Amanda’s frustrations, even as we witness her comical attempts at presenting a dignified front, to hide all of the Southern belle’s brokenness. The fragile Laura is given kooky charm by Bridie McKim, and with her knowing eyes, successfully thwarts any pitied readings of the role.

Tom Rodgers plays romantic prospect Jim with an endearing exuberance, almost making us forgive his dastardly deceptions. A memorable Danny Ball delivers a sumptuously rhapsodic interpretation of Tom Wingfield, in a beautiful representation of the higher possibilities that await an as yet oblivious and disgruntled young man.

Ball’s brand of lyricism is supported wonderfully by the resplendent music of Maria Alfonsine and Damian De Boos-Smith, who deliver for the show a satisfying dreamlike quality specific to the era being visited. Lights by Verity Hampson are perhaps too often of a naturalistic tone, as is set design by Grace Deacon that although features satisfying hints of stylistic elevation, has a tendency to be overly plain in approach. Costumes, also by Deacon, are judiciously assembled, for accurate depictions of epoch and personalities.

If we believe everything that people say about us, we will forever be stifled and dejected. Our sociality has a strong tendency to disempower. It propagates a disillusionment, so that we feel further subjugated and diminished. We then act in weakness, thus allowing the reckless to usurp more than their rightful share. To demand equity requires bravery, and a firm belief that we can co-exist with individual fulfilment, that there are ways to be wholly who we are, without encroaching on the rights of others.

www.ensemble.com.au

Review: Saints Of Damour (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Mar 19 – Apr 5, 2025
Playwright: James Elazzi
Director: Anthony Skuse
Cast: Max Cattana, Nicole Chamoun, Deborah Galanos, Saro Lepejian, Antony Makhlouf
Images by Emma Elias

Theatre review
Pierre left Damour in Lebanon during the unrest of the 1970s. Making the trip alongside were his wife Layla and his mother Zienab, leaving behind secret male lover Samir. As they make new lives in Goondiwindi of rural Queensland, conditions improve quickly but Pierre’s longing for his true paramour never fades.

James Elazzi’s Saints of Damour is a tender tale of forbidden romance, incorporating a narrative of Middle Eastern migration and an interrogation of Australian identities. Its heightened drama is built on an irrefutable authenticity, with characters that are empathetic, genuine and multidimensional. A gentle humour peppers the work, to further draw us into an important exploration into legacies of queer immigrants. 

Direction by Anthony Skuse elicits highly accomplished performances from the entire cast. The complex psychologies involved are thoroughly deciphered, so that dynamics between every character are able to resonate with a sense of palpable intimacy and accuracy.

Production design by James Smithers includes a set that could benefit from some cosmetic refinement, but costumes are wonderfully assembled, to help us situate the personalities in the play’s transforming milieu. Sam Wylie’s lights are appropriately sentimental, as are sounds by Akesiu Poitaha that leave a remarkable impression with how they deliver poignancy for this melancholic presentation. 

Actor Antony Makhlouf brings intellectual rigour to his portrayal of Pierre, facilitating a deep understanding of the challenging circumstances faced by someone many should regard as a community forebear. Samir is played by Saro Lepejian whose natural presence injects a valuable soulful quality that makes the whole dilemma a believable and engaging one.

Deborah Galanos as Zienab brings wonderful timing, to both the comedy and pathos of the piece. Nicole Chamoun is exceptionally organic in her flawless depiction of Layla, amazing with the realism she renders. Other significant supporting parts are brought to life by an assiduous Max Catana, who proves convincing in wildly contrasting roles.

Many from faraway have arrived on these lands that although disputed, have been more welcoming than virtually everywhere else. We have had to leave homes that struggle to contain differences, and seek refuge here, in hopes that a greater capacity for human diversity means greater chances of survival. There is no question however, that the more we disrupt the sense of cultural hegemony, the more this place becomes unwilling to embrace the broadness of our spectrum as inhabitants. Our acceptance as newcomers is contingent on the smallness of our numbers, and the smallness of our characteristics. We are perceived as threats when we grow in demographic and in vigour. At a time when assimilation is no longer de rigeur, what it means to belong is undergoing redefinition.

www.qtopiasydney.com.au

Review: Guys & Dolls (Opera Australia)

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Venue: Handa Opera on Sydney Harbour (Sydney NSW), Mar 21 – Apr 20, 2025
Book: Jo Swerling and Abe Burrows (based on a story and characters by Damon Runyon)
Music & Lyrics: Frank Loesser
Director: Shaun Rennie
Cast: Annie Aitken, Jason Arrow, Thomas Campbell, Doron Chester, Bobby Fox, Joel Granger, Naomi Livingston, Tony McGill, Kieran McGrath, Cody Simpson, Angelina Thomson, John Xintavelonis
Images by Neil Bennett

Theatre review
Never mind that the men are not deserving of these women. What matters in Guys & Dolls, is that the women get their hearts’ desire. The 1950 rom-com musical is completely about light entertainment, at a time when the USA was dominated by political conservatism. Gambling is portrayed as a serious crime, and all the girls want is to get married.

Director Shaun Rennie however, injects a modernity in the way we perceive Adelaide and Sarah, the “dolls” of the piece. Their agency becomes a key feature in the story, and what should have been something way past its use-by date, seems palatable again. These women appear to be creations of their own making, never sheepish about the careers and the men they enjoy, even if the latter are more than a little questionable.

Ideologies aside, it really is all about the spectacle in a production choreographed by Kelley Abbey, who melds old with new for an utterly delightful, and sometimes surprising, showcase of classic musical theatre. A sensational ensemble delivers with marvellous precision, in a staging memorable for its sharp exuberance. Music direction by Guy Simpson is ceaselessly uplifting, across a delectable range of styles that never fail to captivate.

Scenic design by Brian Thomson relies heavily on a giant New York City taxicab, that transforms elegantly to provide a series of requisite backdrops. Additional set pieces are outlandishly craned in, somewhat comically, but certainly impressive with its sheer ambition. Jennifer Irwin’s costumes are an unequivocal highlight, bringing colour and texture to a challenging outdoor location, while making every character look distinct and attractive. Lights by Bruno Poet keep energy sustained, for almost three hours of merry nostalgia.

Performer Angelina Thomson stuns as cabaret artist Miss Adelaide, with her incredible spirit and authentic charm having us enthralled at every appearance. Sarah is played by the pitch-perfect Annie Aitken, who introduces sass alongside sweetness for her clever rendering of a likeable Christian mission worker. Cody Simpson and Bobby Fox are the two rogues Sky and Nathan, both dashing men with big presences who convince us of the women’s devotion. Also noteworthy is Jason Arrow who as Nicely brings the house down with his electric rendition of “Sit Down, You’re Rockin’ the Boat”.

It is easy to criticise all the choices made by Adelaide and Sarah, even when it is clear that circumstances dictate so much of how a woman thinks and behaves. In worlds determined to make things difficult for women, it is only right that we get behind her own decisions and celebrate her endeavours. If her aspirations prove to be flawed after they are attained, we can get cheer her on again when she does better, next time round.

www.opera.org.au

Review: Ophelia Thinks Harder (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Mar 14 – 29, 2025
Playwright: Jean Betts and W Shakespeare
Director: Alex Kendall Robson
Cast: Zachary Aleksander, Julie Bettens, Eleni Cassimatis, Shaw Cameron, Richard Hilliar, Brea Macey, Pat Mandziy, Lucy Miller, Finley Penrose, Hannah Raven
Images by Phil Erbacher

Theatre review
Written in 1993, Jean Betts’ Ophelia Thinks Harder seems today almost desperate in its need to demonstrate, that Shakespeare’s women are no fools, even if Shakespeare had intended them to be portrayed as such. How we perceive of the Bard’s oeuvre has changed in recent years, thanks to efforts of those just like Betts, who have had enough of the gendered denigration inherent in his ubiquitous writing.

Even though strong and considered, Ophelia Thinks Harder does feel superseded in its attitude. Direction by Alex Kendall Robson offers little that could provide an update, to a style of feminist theatre that seems very much of the previous wave. Performer Brea Macey is convincing as a disturbed Ophelia, intense in her portrayal of a young woman awaking to the injustice that she is destined for. Shaw Cameron impresses as a comical but despicable Hamlet, as does Lucy Miller who brings a valuable irony to her measured depictions of the play’s maternal characters.

A visually pleasing set design by Hannah Yardley and Jimi Rawlings proves effective in addressing various scenic requirements. Costumes by Robson are inconsistently rendered, with some pieces more imaginatively assembled than others. Lighting by Sophie Parker can be more detailed in approach, but is nonetheless skilled in calibrating atmospheric transformations. Sounds by David Wilson too can be more rigorous in their enhancements, but are successful in implementing a sense of drama at key moments.

For some, all this debate about Shakespeare is tired to say the least, but his omnipresence in the West remains undeniable. We can see the extent to which his legacy is fundamental to the ways we regard the arts, and how pervasive his influence has been, in our assessments of merit in theatre. Feminism should want to make him irrelevant, to make all that he stands for no longer central to how we experience the world, but the patriarchy’s obstinance is one of its main features. A thorn in the side insists on wearing a person down, but it also functions as a reminder of the bigger harms it is always poised to reinstate.

www.kingsxtheatre.com | www.fingerlesstheatre.com

Review: Furious Mattress (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), Mar 11 – 30, 2025
Playwright: Melissa Reeves
Director: Margaret Thanos
Cast: Julian Garner, Alex Malone, Matilda Ridgway, Shan-Ree Tan
Images by Robert Catto

Theatre review
Else was not the first woman to be described as difficult, and not the first to be subject to an exorcism for that very reason. Based on a true story from 90s rural Victoria, Furious Mattress by Melissa Reeves is a dark comedy exploring parochialism, ignorance and intolerance. A scathing indictment of prevailing systems, most notably the Abrahamic religions which perpetuate all manner of social exclusionary, Reeves’ deeply subversive writing is as thrilling as it is mischievous.

The play is a wild ride, using poltergeist activity and demonic possession as basis for its renderings of theatrical magic. Direction by Margaret Thanos provides an exhilarating kineticism that represents female rage in the twisted form of absurd comedy. Although memorable for that surreal extravagance, its humour can also be wickedly deadpan in naturalist scenes. Either way, Furious Mattress makes us laugh from a condemnatory position, for a satirical chastisement on superstitions and traditions, that insist on the rejection of gender parity. Also noteworthy is the work by Harry Milas as magic consultant, giving literal and figurative elevation to the show.

Angelina Daniel’s set design is immediately evocative of country life, with the incorporation of padded surfaces further suggesting interiors of psychiatric institutions, while providing functionality for this highly dynamic presentation. Costumes by Ruby Jenkins guide us to a recent past, but it is a surprise macabre creation that truly excites. Lights by Ryan McDonald are a powerful element, especially satisfying in its delivery of optical illusions for this exploration of paranormal phenomenon. Sound design by Cameron Smith and music composition by Daniel Hertern dial up the drama, for an instance of storytelling that invites us to approach its serious themes with a delicious duality of solemnity and playfulness.

Actor Matilda Ridgway brings a wonderful defiance to Else, demanding that we see the world through her eyes. Ridgway’s cheeky presence keeps us endeared to the central character, even if it is interpreted as demonic within the text. An extremely funny Alex Malone plays Christian zealot Anna with a marvellous cynicism. Else’s husband Pierce is imbued admirable integrity along with the most subtle of incisive derision, by a captivating Julian Garner. Shan-Ree Tan as charlatan exorcist Max adds to the intensity, for a production that elicits a complex melange of emotions from its audience.

When something supernatural happens, and the church is the first authority called upon to solve its mystery, we can observe the extent to which that old institution controls our understanding of the world. When a woman seems to be losing her mind, and the only available discourse regarding her perceived brokenness relates to religion, we ignore the inherent systemic requisites of keeping women down. Some women will not adhere, and they are usually the ones who speak the truth.

www.belvoir.com.au | www.legittheatreco.com

Review: No Love Songs (Foundry Theatre)

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Venue: Foundry Theatre (Pyrmont NSW), Mar 7 – Apr 13, 2025
Book: Laura Wilde, Johnny McKnight
Songs: Kyle Falconer
Director: Andrew Panton, Tashi Gore
Cast: Keegan Joyce, Lucy Maunder
Images by Brett Boardman

Theatre review
It appears to be the most ordinary of romances when Lana and Jessie meet, but things take a dark turn after the birth of their baby. Post-natal depression may give No Love Songs much needed gravity, but there is no denying the dreariness it adds to an already lacklustre experience. Based on a true story from creators Kyle Falconer and Laura Wilde, No Love Songs is replete with honesty, always guided by integrity in its very personal revelations. The musical however, requires more than sincerity to deliver entertainment.

Directed by Andrew Panton and Tashi Gore, the production is certainly well rehearsed, with an evident polish that conveys a sense of confidence. Visual elements are kept simple, with lights by Grant Anderson commendable for introducing a quotient of drama. Work by Mark Chamberlain on music direction and accompaniment is a delight, even if energy of the piece never ceases to gradually and persistently falter. 

The combination of performers Keegan Joyce and Lucy Maunder may lack chemistry, but each demonstrates themselves to be individually accomplished. There is great detail in their efforts at bringing Lana and Jessie to life, both with remarkable conviction for their parts, along with strong vocals that prove their mettle.

Theatre can be as earnest as any story needs for it to be, but it is a space where imaginativeness should be able to run wild. No Love Songs is perhaps too plain in its expressions of an intense human moment. It is wonderful to attain a state of empathy through art, for it offers an avenue of communication that is unpredictable, when the normal ways fail to move.

www.nolovesongs.com.au

Review: Iphigenia In Splott (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Mar 7 – 22, 2025
Playwright: Gary Owen
Director: Lucy Clements
Cast: Meg Clarke
Images by Phil Erbacher

Theatre review
Living in the south of Cardiff is Effie, a young woman with no real purpose in life. After a chance encounter with a military veteran however, things begin to change. Iphigenia in Splott by Gary Owen deals with the underclass, paying specific attention to their relationship with public services. There are sections of the writing that can feel slightly diminishing of women’s experiences, but its plot is highly entertaining, and as a one-person show, its scope for performance is remarkably versatile, presenting a great opportunity for an actor to showcase their talent and range.

Meg Clarke takes on the challenging role with aplomb, completely astonishing with the depth and drama she brings to the stage. The emotions she offers are as intense as they are authentic, effortless at making Effie’s plight feel affecting from start to end. Clarke’s timing is perfectly honed, and the intricacy with which she breathes life into the text is simply awe-inspiring.

Direction by Lucy Clements keeps the show dynamic and engaging, with an urgency that ensures its message cuts through successfully. Production design by Angela Doherty provides just enough embellishment for the performer to shine. Luna Ng’s lights richly enhance the story with commendable imaginativeness, while Chrysoulla Markoulli’s sounds shift us through the many temperaments as we follow Effie’s misadventures. The wonderful rigour and cohesion of Ng and Markoulli add a valuable quality of transcendence, to the earthy explorations of Iphigenia in Splott.

The play demonstrates the wilful neglect of the powerless, as social infrastructures are allowed to erode in places like the UK. Intrinsic to prevailing capitalistic values, is a contempt for the poor. Although inhumane, we have learned to regard their misfortune as deserving, convincing ourselves that any person can easily pull themselves up by their bootstraps. The truth is that people’s circumstances are often beyond control, and the refusal to help those in need, can only mean that we are nothing more than monsters.

www.oldfitztheatre.com.au | www.newghoststheatre.com

Review: MJ The Musical (Sydney Lyric Theatre)

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Venue: Sydney Lyric Theatre (Sydney NSW), from Feb 25, 2025
Book: Lynn Nottage
Director: Christopher Wheeldon
Cast: Roman Banks, William Bonner, Liam Damons, Derrick Davis, Yashith Fernando, Josslynn Hlenti Afoa, Penny McNamee
Images by Daniel Boud

Theatre review
There was a time when Michael Jackson had the world in the palm of his hand, as the unequivocal king of pop. MJ the Musical charts his rise to fame and glory, ending understandably right before it all turned sour; the many accusations of child sexual abuse were never going to make sense in a celebration of the man’s commercial successes. A dark cloud may hover, but the show is nonetheless spectacular.

Jackson made some of the biggest hits anybody had ever known, and having them collated for a musical theatre work was always going to be a thrilling proposition. Writer Lynn Nottage focuses on the period of rehearsals for his 1992 Dangerous World Tour, when he was at the height of his powers, but also includes many nostalgic recollections of earlier key moments in Jackson’s career, including his formative years as a child star.

Although unable to provide honest disclosures about what we now know to be the man’s biggest secrets, Nottage’s book is an enjoyable effort at making all the songs coalesce in a single digestible package. The true star of the show however, is the very translation of Jackson’s music from pop records to the Broadway stage, retaining their immense original appeal without compromising on the soul, rock and electronic elements that often get diluted when recontextualised for the stage musical format. Jackson’s life story may not be very moving, but his music certainly is.

Three extraordinary performers depict the star at different stages of life. Roman Banks is a remarkable leading man, astonishing with his mimicry of Jackson’s signature voice and physicality, during the mature period. The magnetic Liam Damons is a revelation in mid-career segments, vivacious and captivating in his personification of someone with everything to live for. The wunderkind version is played by the incredibly talented William Bonner, who represents perfectly the enchanting magic of one of the world’s greatest entertainers. Also memorable are Josslynn Hlenti Afoa and Derrick Davis as the Jackson parents, both bringing valuable sentimentality to the staging.

An auditory and visual delight, MJ the Musical is a complete sensation. For a couple of hours, we discover that art can be separated from its artist, even when the work is ostensibly entirely about the artist. Whether a person can be forgiven for heinous acts, even after death, will forever be a matter of contention. The good things Michael Jackson left behind are however, irresistible.

www.mjthemusical.com.au

Review: Henry V (Bell Shakespeare)

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Venue: Sydney Opera House (Sydney NSW), Mar 1 – Apr 5, 2025 | Merrigong Theatre Company (Illawarra Performing Arts Centre) Apr 30 –May 3, 2025
Playwright: William Shakespeare
Director: Marion Potts
Cast: Jack Halabi, JK Kazzi, Alex Kirwan, Odile le Clézio, Ava Madon, Harrison Mills, Ella Prince, Jo Turner, Mararo Wangai, Rishab Kern
Images by Brett Boardman

Theatre review
It could be argued that Shakespeare had intended for the play Henry V to remain ambiguous, in its attribution of heroism to the titular role. Thousands die as a result of Henry’s war, yet there is no significant disparagement of the king’s character. We may like to think that changes have occurred over these four centuries, and our attitudes about war are no longer what they used to be, but in this very moment of political reversion, it appears that efforts to normalise aggression between nations, are back again.

Director Marion Potts however takes a decidedly anti-conflict stance, in a staging that makes no bones about the brutality that inevitably ensues, when soldiers are required to do their leaders’ bidding. There is no glorification of the battlefield, even if the king does retain his air of majesty. Movement and fight direction by Nigel Poulton is a memorable feature, as we watch the troops’ kineticism being expressed with an enjoyable poetic quality.

Lead actor JK Kazzi demonstrates strong focus and commitment, if slightly deficient in charisma. It is overall a cohesive cast, effective at manufacturing dramatic tension for key moments. Set and costume design by Anna Tregloan are contemporarised with a pleasing sleekness, and are appropriately masculine in style. Lights by Verity Hampson depict a severity necessary for this exploration of violence, but could benefit from a greater embrace of the story’s heightened sentimentality. Sounds by Jethro Woodward are wonderfully theatrical, and impressive for the rigour that allows us to detect every shift in time and space.

In the west these recent years, wartime had begun to seem a distant past. Today there is a shift afoot, and peace is again under threat, as powerful leaders disrupt old alliances, in favour of new arrangements that undermine democracy. It is a shameless power grab, the nature of which is so alien to current generations, that we feel ill-equipped to fight against. So much is lost by the end of Henry V, but they still call it a victory.

www.bellshakespeare.com.au