Category Archives: Theatre

Review: The Pirates Of Penzance (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Feb 14 – Mar 16, 2025 | Merrigong Theatre Company (Illawarra Performing Arts Centre) March 26 – 29, 2025
Music: Arthur Sullivan
Libretto: W.S. Gilbert
Director: Richard Carroll
Cast: Trevor Jones, Jay Laga’aia, Brittanie Shipway, Maxwell Simon, Billie Palin
Images by John McCrae

Theatre review
The Pirates of Penzance debuted at the end of 1879 in New York City, telling the love story of apprentice pirate Frederic and Mabel, a daughter of the Major-General. Characteristically absurd, this Gilbert & Sullivan comic opera has been adapted for a contemporary audience by Richard Carroll, who retains the fun and frivolity of the original, with the incorporation of refreshed dialogue and updated references. The first act is a delightful romp, thoroughly and riotously funny from the very start, but Act Two sadly pales in comparison. Unable to sustain the hilarity, the show deflates even as the cast tries its mightiest to hold our attention. 

Five excellent performers take the helm, with an effervescent Maxwell Simon offering earnest naivety as Frederic, in this amusingly wholesome take on a band of “tender-hearted” pirates. Brittanie Shipway is highly impressive with her vocals proving as strong as her comic timing, in the dual roles of Mabel and maid-of-all-work Ruth. Peerless charisma from Jay Laga’aia makes compelling his portrayals of the Pirate King and the Sergeant of Police. Trevor Jones delivers an unforgettable rendition of the legendary “Major-General’s Song”, and Billie Palin is admirably fastidious with all the supporting parts she dutifully takes on.

Set design by Nick Fry is polished and attractive, with efficient use of space allowing for energy to pervade the entire stage. Lights are a wonderful feature, created by Jasmine Rizk to deliver sumptuous colour and dimension, for imagery that seems to be constantly evolving. Also noteworthy is choreography by Shannon Burns, providing endless physical configurations for further visual delight. The Pirates of Penzance is indeed often enchanting, and a welcome diversion for those who have ever longed to escape to the high seas.

www.hayestheatre.com.au | www.thearthousewyong.com.au

Review: Nucleus (Griffin Theatre Company)

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Venue: Seymour Centre, Reginald Theatre (Chippendale NSW), Feb 14 – Mar 15, 2025
Playwright: Alana Valentine
Director: Andrea James
Cast: Paula Arundell, Peter Kowitz
Images by Brett Boardman

Theatre review
Cassie and Gabriel have known each other for decades, but because the former is an anti-nuclear activist, and the latter a pro-nuclear engineer, they are unable to conceive of their relationship as anything other than adversarial. Alana Valentine’s Nucleus is in some ways a boy-meets-girl story, and in other ways, an exploration into debates about nuclear energy. Scientific portions feel thoroughly researched, able to offer valuable insight, if slightly too densely assembled for this 90-minute production. Romantic aspects of Nucleus may not be entirely convincing, but they certainly keep us attentive to an important subject that relates to the very survival of our species.

Direction by Andrea James provides a sense of precision to the escalation of dramatic urgency, that ensures our investment in the piece. Production design by Isabel Hudson encourages us to regard the show’s ideas with an expansive attitude, whilst manufacturing a satisfying elegance to the staging. Lighting by Verity Hampson, along with video projections by Laura Turner, offer meaningful transformations of atmosphere, although a greater dynamism could improve the experience. Phil Downing’s music and sound are thoroughly considered, to help manufacture an aural richness to inspire sentimental responses.

For the role of Cassie, actor Paula Arundell is required to embody a wide range of temperaments and emotions, and the clarity she brings to all those distinctions of mental states is remarkable to observe. As Gabriel, Peter Kowitz is less detailed in his performance, often looking inadequately prepared and unconfident. Chemistry between the two is sorely lacking, which makes a lot of this two-hander hard to enjoy.

In the current age of distrust in media and of authorities in general, obtaining accurate information on something as crucial as energy resources, can feel an absolute quagmire. Competing interests, with competing truths, make for the gathering of facts so arduous that giving up trying, is almost always the result. In a world where we have grown accustom to having other people, who we never really trust, deal with each and every environmental crisis, it will come as no surprise that the ultimate consequence of populaces not paying attention, is of course going to be dire.

www.griffintheatre.com.au

Review: The Children’s Hour (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Feb 14 – Mar 1, 2025
Playwright: Lillian Hellman
Director: Kim Hardwick
Cast: Sarah Ballantyne, Jess Bell, Amy Bloink, Mike Booth, Annie Byron, Kim Clifton, Romney Hamilton, Martelle Hammer, Miranda Huttley, Deborah Jones, Lara Kocsis, Madeline Kunstler, Kira McLennan
Images by Phil Erbacher

Theatre review
Mary is a terror of a child. She may be just twelve years of age, but her conniving ways are already causing chaos everywhere. When Mary starts a rumour about headmistresses Martha and Karen having a sexual relationship at their residential school, the consequences are devastating. The Children’s Hour is a 1934 play by American playwright Lillian Hellman, significant for its portrayals of queer women at a time when lesbians were rarely represented in the arts, and when homosexuality was severely stigmatised.

The text reflects the immense shame endured by queer people of the time, and although largely obsolete in its depictions, The Children’s Hour serves as a valuable and accurate record of the way things had been. Direction by Kim Hardwick brings truthfulness to the storytelling, so that we may bear witness to the cruelty that humans are capable of inflicting, especially upon the marginalised. Some scenes are more compelling than others, which suggests that a slightly abridged version could be more suited to contemporary tastes.

Set design by Emelia Simcox, along with scenic art by Russell Carey are evocative of the era being showcased. Hannah Yardley’s costumes too are appropriate in style, although not always well-fitted, and some pieces show visible signs of distress. Lights by Jimi Rawlings and sound by Michael Huxley offer unobtrusive enhancements to atmosphere, in a staging that scores points for integrity.

The role of the deceitful Mary is played captivatingly by Kim Clifton, who brings a delicious ferocity to the viciousness that propels the narrative. Jess Bell and Romney Hamilton demonstrate strong chemistry as Martha and Karen respectively, with Bell’s riveting intensity and Hamilton’s restraint, forming a surprising contrast.

In the current political moment, it seems that lies are the greatest driver for our destruction. No longer able to effectively discern truth from lies, or even right from wrong, we find ourselves in a constant state of frustrating bewilderment, unable to trust any information, and subsequently enfeebled with inaction. Queer history, however, proves that no matter how extreme the oppression, the warriors for justice will overcome.

www.oldfitztheatre.com.au | www.instagram.com/tinydogproductions

Review: Cruise (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Feb 12 – 22, 2025
Playwright: Jack Holden
Director: Sean Landis
Cast: Fraser Morrison
Images by Abraham de Souza

Theatre review
Almost four decades on, Michael still needs to talk about the trauma, and fortunately, his story is one that younger generations will always need to hear. HIV may no longer be the death sentence it used to be, but it is in many ways an enduring tragedy that continues to reverberate deeply for queer communities everywhere.

Michael’s reminiscences are not only about those he has lost, but also about the burden those of us left behind, have had to carry. Survivor guilt and social stigma are issues that prompt Michael to call a helpline, at the start of Jack Holden’s Cruise, but as well as being sublimely mournful, the play is also packed with joy. Michael’s personal history is one of liberation – from tradition, from persecution, and from debilitating disease.

The immense depth of Holden’s writing delivers a theatrical experience that many will find powerful, if not completely transcendental. Coupled with dynamic and incisive work by Sean Landis on direction, Cruise is profoundly reflective, along with being fabulously and irresistibly entertaining.

Actor Fraser Morrison delivers this one-person show with a wonderful sincerity that invites our open hearts to observe and share in all the pain, redemption and exaltation, that he so assiduously brings to the stage. Morrison’s capacity for a great range of temperaments and attitudes, keeps us enthralled as he portrays countless characters, in this important recollection of a gay legacy. Assisted by choreographer Jeremy Lloyd’s sophisticated eye in movement, Morrison’s physicality is framed with considerable beauty, in his depictions of gay lives past and present.

Production design by Chelsea May Wheatley provides effective spatial demarcations that allow for a kineticism that the presentation uses to generate urgency. Wheatley’s sound design is admirably thorough, inspiring strong visceral responses to a show that contains an abundance of sentimentality. Lights by Tom Hicks are sensitively and imaginatively rendered, cleverly transportive as we explore time and space in both internal and external, or psychic and material ways.

The trajectory for us can only be forward, but as perpetual outsiders, the journey is always turbulent and arduous. We can always see brighter futures, and even in the darkest moments, we have been able to summon optimism and faith, not only for the betterment of our spirit, but also to propel us ahead in achieving actual improvements for all our lives.

HIV did kill many of us at the end of the previous century, but there is no question that we have emerged to thrive spectacularly in so many ways. Today a new backlash is taking hold, especially against those of us who dare to express gender in authentic but unorthodox ways. There is no certainty about how we are to win this battle, but there can be no doubt that we will once again prevail.

www.kingsxtheatre.com | www.fruitboxtheatre.com.au

Review: Hadestown (Theatre Royal)

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Venue: Theatre Royal (Sydney NSW), 12 Feb – 26 Apr, 2025
Music, Lyrics & Book: Anaïs Mitchell
Director: Rachel Chavkin
Cast: Abigail Adriano, Christine Anu, Noah Mullins, Sarah Murr, Elenoa Rokobaro, Adrian Tamburini, Jennifer Trijo, Imain Williams
Images by Lisa Tomasetti

Theatre review
In Hadestown, the musical retelling by Anaïs Mitchell of an ancient tale, Eurydice makes a deal with Hades for food and shelter. Even though she remains alive, Orpheus’ journey is no safer, as he ventures into the underworld trying to rescue his love. Having the spectacular Greek legend as a basis, means that this 2019 Broadway production contains all the ingredients for something not only fantastical but also sentimental, especially with Mitchell’s excellent song writing offering vivid access to the emotional dimensions of this complex story.

Director Rachel Chavkin’s staging is often mesmerising, delivering magical imagery that helps our consciousness traverse the bridge between reality and fantasy, to meaningfully encounter the supernatural aspects of Hadestown. Musical direction by Laura Tipoki bears a valuable idiosyncrasy that encourages us to respond with a commensurate sense of whimsy, but some of its execution can feel slightly restrained and sterile.

Playing the lovebirds are Abigail Adriano and Noah Mullins, both commendable for their visibly rigorous investment in the central romance. They bring a believability to the show, derived from their realistic portrayals of sheer humanity. Hades and Persephone are less compelling, as performed by Adrian Tamburini and Elenoa Rokobaro who exhibit technical proficiency, but whose portrayals of larger than life personas, feel somewhat superficial.

As Hermes, Christine Anu impresses with her unmitigated soulfulness, carried through voice, face and body, to make the truth resonate, in the midst of distracting frivolity. Fate is represented by the exceptional trio of Sarah Murr, Jennifer Trijo and Imani Williams, who demonstrate astonishing artistry and cohesiveness, in their embodiment of what is certainly one of the production’s most memorable elements.

In Hadestown we observe a love story, as well as a story about power. Hades could easily have orchestrated the union of Eurydice and Orpheus, but he chose not to. We are capable of cruelty as much as we are in need of tenderness. Humans are a myriad of shifting things, but a constant seems to be that we are contradictory. We have all seen the face of peace and love, yet the part of us that insists on jeopardising all that is good, seems always to be rearing its ugly head.

www.hadestown.com.au

Review: Three Sisters (Flight Path Theatre)

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Venue: Flight Path Theatre (Marrickville NSW), Feb 5 – 15, 2025
Playwright: Anton Chekhov (adapted by Victor Kalka)
Director: Victor Kalka
Cast: Matthew Abotomey, Meg Bennetts, Alex Bryant-Smith, Nicola Denton, Barry French, Sarah Greenwood, Jessie Lancaster, Alice Livingstone, Ciaran O’Riordan, Mason Phoumirath, Joseph Tanti
Images by Samuel Webster

Theatre review
It is becoming increasingly odd to see characters in Chekhov’s Three Sisters talk about “work” like it is something optional. The notion of nobility has faded so far from popular consciousness, that any alternative to a life of work, is now proving unimaginable. In this adaptation by Victor Kalka, we may not be able to relate much to the lifestyles of these Russians from the year 1900, but it seems that Chekhov’s representations of existential angst can still resonate.

This is a version that, at just over 100 minutes, should have been easily digestible, but early portions struggle to connect. The constant lamenting of a bygone era is tiresome, with characters expressing grievances that are entirely alienating. After the fire however, they are made to grapple with something more authentic, and in the concluding moments, Three Sisters comes back to life.

The cast of 11 can be lauded for establishing a uniformity in tone, even though some performers are certainly more compelling than others. Set design by Kalka thoughtfully positions entrances to the stage that facilitate smooth movement, but it is arguable if his take on modernised costuming depicts the nature of class appropriately for the story. Lights by Jasmin Borsovszky bring elegance to the presentation, along with pleasant variations to atmosphere. Sounds by Patrick Howard offer simple enhancements for a sense of theatricality.

It can be construed that the people in Three Sisters are looking for purpose, rather than literal work, in what they feel to be an aimless existence. In 2025 we are discovering that work can easily be just as unfulfilling, if not completely self-jeopardising, in this era of the oligarch’s aggressive re-emergence. In the present moment, authoritarian figures of power are demonstrating their patent disregard for our welfare as contributors to their successes, whether as consumers or as resources for production. We can still think of work as honourable, but more than ever, the understanding of what our labour is really serving, needs to come to the fore.

www.flightpaththeatre.org | www.virginiaplaintheatre.com

Review: 4000 Miles (Sydney Theatre Company)

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Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), 8 Feb – 23 Mar, 2025
Playwright: Amy Herzog
Director: Kenneth Moraleda
Cast: Nancye Hayes, Shiv Palekar, Ariadne Sgouros, Shirong Wu
Images by Daniel Boud

Theatre review
Leo had only intended to drop in at his grandmother Vera’s for a quick visit, but ends up staying for much longer. Amy Herzog’s 4000 Miles is about kinship, and the human need for connection at a time when we are increasingly isolated. It is almost strange to see a young and an old person together, even though they are family, and should appear completely natural and matter of course. Such is the extent of our alienation in this day and age.

It is a humorous piece of writing by Herzog, remarkable for the delicate rendering of its characters’ frailties along with the intimate refuge they find in each other. Direction by Kenneth Moraleda is strikingly tender, full of sensitivity and genuine poignancy, for a show that speaks volumes about what we should regard to be the most important in life. It is never a saccharine experience, but always quietly profound, and subtly persuasive.

Production design by Jeremy Allen delivers a realism that helps make the storytelling seem effortless. Kelsey Lee’s lights bring immense warmth, with occasional punctuations of visual poeticism that feel transcendent. Music compositions by Jess Dunn are wonderfully pensive, with a rich sense of yearning to inspire further emotional investment in something truly universal.

Actor Nancye Hayes captivates with the charm she imbues Vera, but it is the honesty she is able to convey that really impresses. The eminently watchable Shiv Palekar as Leo too is resonantly truthful, in his depictions of someone finding his way out of trauma. The exquisite chemistry between the two is quite a thing to behold, and can be credited as the main element behind the production’s success. Also memorable is performer Shirong Wu as Amanda, utterly hilarious in her one unforgettable scene. Leo’s girlfriend Bec is played by Ariadne Sgouros, adding dimension to our understanding of dynamics between characters in 4000 Miles.

Vera’s friends are all leaving this plain, one at a time. In her twilight moments, she finds herself becoming an essential source of support for her grandson, and in this discovery of new meaning, we observe a new lease of life, for both Vera and Leo. In their care of one another, each is required to bring out the best of themselves. Modernity seems intent on drawing attention to many of our worst sides, but it seems that when we tend only to things that matter, a clarity emerges to help us decipher what is good.

www.sydneytheatre.com.au

Review: Chasing Dick – A Love Story (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Feb 5 – 15, 2025
Playwrights: Dax Carnay-Hanrahan, Aleks Vujicic
Director: Dax Carnay-Hanrahan, James Lau
Cast: Dax Carnay-Hanrahan, Chris Colley, Jason Jefferies
Images by Jordan Hanrahan-Carnay, Matt Bostock 

Theatre review
Dick is a woman with a broken heart, but when she encounters two different men, at different times on the same day, it may seem that things could change. There is an undeniable chemistry to how she connects with each of them, but the psychological damage she has sustained as a trans woman in a transphobic world, is making it challenging for Dick to trust. Also, the fact that the two men are father and son, are only making things trickier.

Chasing Dick – a Love Story by Dax Carnay-Hanrahan and Aleks Vujicic, is often beautifully considered, containing excellent insight from a queer woman’s perspective that is severely underrepresented. Directed by Carnay-Hanrahan and James Lau, the show’s broad humour will not be to everyone’s taste, but what it does say about the trans experience, is certainly valuable.

Design aspects of the staging are accomplished with minimal fuss, offering simple solutions to help us contextualise the performance. Carnay-Hanrahan brings intensity as leading lady of the piece, along with a wonderful commitment that makes the story’s important message truly resonate. Chris Colley and Jason Jefferies offer reliable support as love interests, both actors demonstrating sincerity in their roles.

Trans people like Dick are deserving of love, but what we receive is always compromised and tainted. Luckily love comes in all forms, and even though the vast majority of us are unable to find the romantic kind that our cisgender counterparts enjoy, friendships are much less likely to evade us. Chosen families, along with biological ones, are at least as important to our wellbeing, and to our abilities in living full lives. It is true that we can do without romantic love, especially when we lean into the wisdom that we have inevitably cultivated as a community that has survived interminable cruelty. We must always remember that more than everyone else, we know how to feel enough, that our capacity for self-sufficiency is both rewarding and extraordinary.

www.qtopiasydney.com.au | www.tayotayocollective.au

Review: Peter And The Starcatcher (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), Jan 31 – Feb 9, 2025
Playwright: Rick Elice (from the novel by Dave Barry and Ridley Pearson)
Music: Wayne Barker
Director: David Morton
Cast: John Batchelor, Paul Capsis, Olivia Deeble, Otis Dhanji, Morgan Francis, Lucy Goleby, Ryan Gonzalez, Pete Helliar, Colin Lane, Benjin Maza, Hugh Parker, Alison Whyte
Images by Daniel Boud

Theatre review
It is the story of how Peter Pan came to be “the boy who never grew up”. Originally a novel by Dave Barry and Ridley Pearson, Peter and the Starcatcher involves two ships, pirates, hidden treasure and a celestial substance known as “starstuff”. Transformed into a play by Rick Elice, with music by Wayne Barker, those fantastical elements come to good use, for a theatrical experience catering to young and old.

Design and direction by David Morton delivers a staging that borrows heavily from the pantomime tradition, with notable incorporation of puppetry further enhancing its sense of wonderment. Costumes by Anna Cordingley are commensurately whimsical in nature, with her humorous mermaids leaving an especially lasting impression. Dynamic lights by Ben Hughes are creatively rendered, to take us somewhere magical, with imagery that is often uplifting and inspiring.

Portraying a highly endearing Peter is performer Otis Dhanji, who brings great energy and a compelling innocence to the central role. His new friend Molly is played by Olivia Deeble who delights with her athleticism, and who keeps us attentive with a remarkable presence. Both sing their parts powerfully, along with jaunty and sumptuous musical direction by James Dobinson.

Neverland is a place where the lines between reality and fantasy blur, implying that imagination plays an important part no matter a person’s age. Neverland is also full of danger, meaning that much as we should hold on to an innocent sense of limitless possibility, understanding responsibility is always an essential part of carving out a good life. One should always remember to look to the stars, but unlike Peter Pan, we must never forget to keep our feet steadily rooted to the ground.

www.peterandthestarcatcher.com.au

Review: Wuthering Heights (Roslyn Packer Theatre)

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Venue: Roslyn Packer Theatre (Sydney NSW), Jan 31 – Feb 15, 2025
Adaptor: Emma Rice (from the novel by Emily Brontë)
Composer: Ian Ross
Director: Emma Rice
Cast: Sam Archer, Nandi Bhebhe, Matthew Churcher, Rebecca Collingwood, Frederick Double, Stephanie Elstob, Thomas Fox, Stephanie Hockley, TJ Holmes, John Leader, Robyn Sinclair
Images by Steve Tanner

Theatre review
It is the story of star-crossed lovers Heathcliff and Catherine, from the pen of Emily Brontë but adapted for a contemporary stage. The circumstances around the dark romance of Wuthering Heights may seem a relic of the past, but the emotions that it represents prove enduring.

Transformed into a musical, we are swept away by compositions from Ian Ross that are alternately ethereal and intense, creating a majestic soundscape that takes us far away to 18th-century northern England. Its characters make choices that are unlikely to make sense today, but the music connects with something primal, for an instinctive understanding of how they might have felt.

This reinvigorated version by Emma Rice is as imaginative as it is exuberant, with pop influences that help the old novel resonate anew. Choreography by Etta Murfitt introduces an unexpected kineticism, adding a sense of palpable urgency. Production design by Vicky Mortimer may look somewhat home-spun and dwarfed by the lofty sleekness of the auditorium, but quirky elements are nonetheless delightful.

It is an endearing cast that takes the charge, with John Leader’s idiosyncratic interpretation of a marvellously suave Heathcliff, earning our investment in his epic tale of ambition and regret. Stephanie Hockley’s passionate defiance as Catherine brings an undeniable spiritedness to the production. Also notable are Nandi Bhebne as Leader of the Moors, and Robyn Sinclair as Young Cathy, both highly compelling with their splendid vocals and considered depictions.

There are so many tragic deaths in Wuthering Heights, most of which are related to the notion of a broken heart. Heathcliff was indeed devastated by the loss of his love, and even though it is a truism that life without love is worth little, it is easy to mistakenly believe the same about romance. Only love is essential, and fortunately much more attainable than its illusory and evanescent echo.

www.wutheringheightsaustralia.com