Category Archives: Theatre

Review: Big Girls Don’t Cry (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Apr 5 – 27, 2025
Playwright: Dalara Williams
Director: Ian Michael
Cast: Bryn Chapman Parish, Mathew Cooper, Nic English, Guy Simon, Stephanie Somerville, Megan Wilding, Dalara Williams
Images by Stephen Wilson Barker

Theatre review
Cheryl, Lulu and Queenie have so much to look forward to, not least of which is the first Aboriginal debutante ball in Sydney. It may be 1966 and the marginalisation of Indigenous peoples is still atrocious to say the least, but nothing can keep these young women down. Big Girls Don’t Cry by Dalara Williams is at once political, philosophical and romantic; a dramedy that portrays the fullness of these friends’ lives, with all that makes them rich as a collective and as individuals, contained in one charming play.

Direction by Ian Michael suffuses the work with a palpable warmth, keeping us completely endeared to these characters and attentive to the many ebbs and flows that form their circumstances, as Black women finding happiness in a colonised city.

Set design by Stephen Curtis features a revolve that provides every scene with a sense of movement and urgency. Costumes by Emma White ensure that we know exactly the epoch being depicted, while creating flattering silhouettes for each of the bodies we encounter. Kelsey Lee’s lights manufacture a tenderness that stays with us for the duration, so that we can connect with the  sentimentality of the piece, and sounds by Brendon Boney offer nostalgic allure as they guide us through oscillations between pathos and laughter.

Cheryl is played by aforementioned writer Dalara Williams, with a commendable subtlety that establishes a beautiful poignancy, for a story that only becomes increasingly meaningful, with every subsequent scene. Megan Wilding plays Queenie, who along with Guy Simon’s Earnie, form an extraordinarily charming pair, memorable for the wonderful humour they inject into the presentation.

Stephanie Somerville brings a valuable sweetness to the role of Lulu, almost as a constant reminder not only of the resilience that is being celebrated in Black women, but also of the very quality of femininity that is often neglected in discussions about survival and triumph. No less noteworthy are Bryn Chapman Parish, Mathew Cooper and Nic English, who are as measured as they are passionate, in contributing to this charming yarn, about the incredible women who continue to teach us how to make things better for future generations.

Big Girls Don’t Cry is about the giants on whose shoulders we stand. It is about the examples they have set that we must follow, and their legacies which although entrenched, can easily be forgotten in many of our frenzied metropolitan lives. Cheryl, Lulu and Queenie demonstrate different ways to resist. They also show us how we can offer support and love, in the face of forces that wish to have us become more like them, cold and hardened.

www.belvoir.com.au

Review: These Youths Be Protesting (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Apr 4 -19, 2025
Playwright: Izabella Louk
Director: Izabella Louk
Cast: Hamish Alexander, Karrine Kanaan, Rachel Thomas, Mây Trần
Images by Karla Elbourne

Theatre review
An initiative originally intended as a simple recycling program at a high school, unexpectedly escalates into a social media controversy, involving mining corporations and political figures. The four teenagers in Izabella Louk’s These Youths Be Protesting have little in common, but circumstances demand that they partner up and fight, should they wish to have a say in their own future.

There is considerable wit in Louk’s writing, and coupled with an irrepressible effervescence derived from her own direction of the work, These Youths Be Protesting proves to be an engaging experience, as well as an inspiring call to action regarding our current state of environmental degradation.

Actors Karrine Kanaan and Mây Trần bring gravity to the piece, while Hamish Alexander and Rachel Thomas are remembered for their endearing humour. They play distinct characters, but achieve commendable cohesiveness. Energetic and committed, the cast keeps us attentive and convinced of the important, but uncontroversial, message of conservation activism.

Dramatic intensity is further enhanced by Marc Simonini’s thoughtful music compositions, while Caitlyn Cowan’s lights deliver a sense of visual theatricality, to this story of an unusual school week. Set design by Paris Bell does wonders with recycled cardboard, introducing valuable vibrancy with its bold colour palette.

No matter the epoch, it is in our nature to fight for survival. For many though, complacency can set in, along with weariness and disillusionment, but we can always rely on the fervour of youthful angst and indignation, to be new guiding lights at every step of our evolution.

www.kingsxtheatre.com | www.instagram.com/blinkinglight.theatre

Review: Annie (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), Mar 25 – Jun 21, 2025
Book: Thomas Meehan
Music: Charles Strouse
Lyrics: Martin Charnin
Director: Karen Johnson Mortimer
Cast: Dakota Chanel, Mackenzie Dunn, Keanu Gonzalez, Amanda Lea Lavergne, Greg Page, Debora Krizak, Anthony Warlow
Images by Daniel Boud

Theatre review
The unlikely story of an orphan meeting a billionaire, could probably never be written in today’s climate of sensitivity, around issues like child exploitation and abuse. Annie the musical is approaching 50 years old, and watching it now can indeed feel slightly uncomfortable. Much of it is delightful, especially as a showcase for young talent, but its core premise remains indubitably problematic and unsavoury.

Direction by Karen Johnson Mortimer aims to deliver a great deal of nostalgia, to satisfy our hunger for more wholesome times. Brilliant choreography by Mitchell Woodcock brings the energy, in the most crisp and stylish ways. The classic set and costumes continue to look lavish, and with the addition of video projections by Craig Wilkinson, a greater sense of kineticism is introduced to establish a more updated aesthetic to the production.

The highly demanding eponymous role is played by Dakota Chanel who demonstrates great discipline and precision, alongside showbiz stalwart Anthony Warlow who breezes through the part of Warbucks with confident ease. The relentlessly animated Debora Krizak transforms the despicable Miss Hannigan into a captivating figure, while Keanu Gonzalez who plays Hannigan’s brother Rooster absolutely astounds with his incredible skills in dance.

Very noteworthy, is the ensemble of girls who steal the show whenever given the opportunity. Chloe Delle-Vedove, Ellie Lang, Skylah McMah, Camille Nko’o, Zoe Reeves, Cailin Scully and Matilda Teiotu are together an unequivocal sensation as Annie’s intrepid friends.

It was never really explained how Annie and Warbucks ended up in the Oval Office at one point in the show, but seeing an unelected billionaire hobnobbing with the American President, is more than a little sobering in 2025. Roosevelt was able to help Annie uncover the truth about her biological parents, but it may seem that only chaos and disaster is emanating from the current collusion of wealth and power at the White House.

www.anniemusical.com.au

Review: Bloom (Sydney Theatre Company)

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Venue: Roslyn Packer Theatre (Sydney NSW), Mar 29 – May 11, 2025
Book and Lyrics: Tom Gleisner
Music: Katie Weston
Director: Dean Bryant
Cast: Evelyn Krape, Vidya Makan, Maria Mercedes, Eddie Muliaumaseali’i, John O’May, Christina O’Neill, Jackie Rees, Slone Sudiro, John Waters, Christie Whelan Browne
Images by Daniel Boud

Theatre review
One would hope that retirement homes are the most idyllic places in which the elderly can enjoy their twilight years, but Pine Grove is no such institution. In Tom Gleisner’s musical comedy Bloom, senior residents are treated with no respect, by a management that thinks only of the bottom line. The characters we encounter in Gleisner’s writing are thoughtfully assembled, but his plot unfolds predictably at every juncture, and a clichéd sense of humour guides the tone for the entire presentation.

Direction by Dean Bryant demonstrates little need for inventiveness, focussing efforts instead on creating a show that speaks with poignancy and tenderness. Its efficacy as a heart-warming tale is however debatable, with some viewers likely to respond favourably to its sentimentality, while others may be left unmoved by its hackneyed approach. The music of Bloom, written by Katie Weston and directed by Lucy Bermingham, is somewhat pleasant but the thorough conventionality of its style might prove uninspiring for some.

Set design by Dann Barber, along with costumes by Charlotte Lane, are appropriately and intentionally drab for a story about the failures of aged care systems. Lights by Sam Scott too, fulfil with unquestionable proficiency, the practical requirements of the simple narrative.

The ensemble is commendable for the gleam it brings to Bloom, with their confident singing and spirited delivery of old-school comedy, ensuring a consistent sense of professionalism. Performer Christie Whelan Browne is especially noteworthy for her flamboyant approach, in the hilarious role of Mrs MacIntyre the dastardly owner of Pine Grove. As staff member Ruby, Vidya Makan’s big voice is a treat and a memorable feature, in a production that has a tendency to feel more than a little tired.

www.sydneytheatre.com.au | www.mtc.com.au

Review: The Producers (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Mar 29 – Apr 27, 2025 | Riverside Theatres (Parramatta NSW) May 15 – 18, 2025
Music & Lyrics: Mel Brooks
Book: Mel Brooks, Thomas Meehan
Director: Julia Robertson
Cast: Anton Berezin, Des Flanagan, Alexandra Cashmere, Blake Erickson, Jordan Shea, Mikey Sakinofsky, Wendy-Lee Purdy, Spencer Cliff, Clancy Enchelmaier, Genevieve Goldman, Joshua Gordon, Ashton Lash, Joe Meldrum, Paloma Renouf
Images by Grant Leslie

Theatre review
Broadway producers Bialystock and Bloom try to stage a flop, when they discover an accounting loophole that would deliver an easy profit. They choose a show that celebrates Hitler, certain that it would be shut down right away, but like at the recent American elections, the unthinkable happens when Nazism wins the day. It may not have been Mel Brooks’ conscious intention, but a revival of The Producer reveals the truth about the USA, and its long-held secret desire to introduce a fascist state.

It is however not an obviously politicised staging, that director Julia Robertson delivers for 2025, who thankfully retains the original essence and remarkable wit of The Producer. Her show is relentlessly exuberant, always clever with how it reinvents each memorable scene of this legendary work. Choreographer Shannon Burns impresses with her rigour and ambition, ensuring that the experience is delightful at every turn.

Set design by Nick Fry is wonderfully imaginative, and endlessly versatile with the imagery it is able to render. Costumes by Benedict Janeczo-Taylor are intricately assembled, effective with all the colour it adds to the production. Lights by Ryan McDonald are quite the resplendent feature, offering unexpected spatial dimensions, and a marvellous sense of theatrical elevation with its dynamic flamboyance.

Music direction by Osibi Akerejola is rich and spirited, even if the band is occasionally short on polish. Performer Anton Berezin is perfect as Bialystock, very likeable as the cheeky rogue, and admirable for the precision he brings to the part. Less charismatic, but equally detailed is Des Flanagan who plays the role of Bloom, the earnest protégé.

Alexandra Cashmere is vivaciously comical as Ulla, demonstrating great creativity along with impressive skill, transforming the classic bimbo into someone truly fascinating. The hilarious Blake Erickson is unforgettable as Broadway director Roger De Bris, thoroughly amusing with his camp antics and exquisite timing. Neo-Nazi writer Franz Liebkind is played by Jordan Shea with wild abandon, joyfully absurd in his portrayal of a man who has completely lost his marbles.

In 1967, at the time of the original film of The Producers, it had felt as though the decision had been made concrete, that Nazis had well and truly lost the war, and that the world would invest its all in the grand experiment of democracy. Decades later, we find the USA at an inconceivable juncture today, of fascism rearing its ugly head, in the most resolute ways. The judicial system in The Producers proves effective in quashing nefarious activity; however it remains to be seen, if centuries of well-meaning legislation can withstand sinister attacks, from this new face of despotism.

www.hayestheatre.com.au | www.riversideparramatta.com.au

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