Venue: Capitol Theatre (Sydney NSW), Jul 15 – Dec 31, 2025
Book, Music & Lyrics: Trey Parker, Robert Lopez, Matt Stone
Directors: Casey Nicholaw, Trey Parker
Cast: Nick Cox, Matthew Hamilton, Sean Johnston, Paris Leveque, Simbarashe Matshe, Callum Rigg, Tom Struik, Augie Tchantcho
Images by Daniel Boud

Theatre review
Given its divisive and often problematic influence on politics, religion today can be seen as a troubling force in the United States. Things were markedly different in 2011 when The Book of Mormon first premiered. Those now feel like more innocent times, when lampooning theology was able to seem almost good-natured by comparison. Also different is how the musical’s depiction of Uganda now feels. What once came across as cheeky and daring is increasingly veering toward the objectionable.

It could therefore be argued that the show’s appeal has diminished, yet its unique irreverence and playful lack of earnestness still allow The Book of Mormon to stand out in a crowded marketplace. Although somewhat outdated and no longer the fresh or shocking revelation it once was, the production remains tremendously entertaining, offering an edginess that musical theatre lovers will find hard to match elsewhere.

This return season features an excellent new cast, with performers like Nick Cox making a remarkable impression as Elder Cunningham—animated and precise in his approach, delivering some of the biggest laughs in what is surely one of Broadway’s funniest shows. Sean Johnston brings great energy and unequivocal vibrancy to the role of Elder Price, though he could benefit from dialling up the camp factor to embrace a more satirical style. The wonderful Paris Leveque is extremely charming as Nabulungi, with believable expressions of emotion and a stunning voice, that really help to sell the story.

In 2025 there is no longer anything whimsical or indeed cute, about those who reject critical thinking in favour of bizarre doctrines and conspiracy theories. The so-called ‘religious right’ continues to expand its influence, demanding that government policies align with beliefs rooted in supernatural thinking, often at odds with the broader public good. The Book of Mormon reminds us of a time when churches could be met with light-hearted derision, when we were perhaps oblivious to the harm they were willing to inflict, often even upon their own. While the cultural climate has undeniably shifted, one truth remains: we need laughter now more than ever.

www.thebookofmormonmusical.com.au

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

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

Venue: Capitol Theatre (Sydney NSW), from Aug 7 – Oct 20, 2024
Music: Alan Menken
Lyrics: Glenn Slater
Book: Cheri Steinkellner & Bill Steinkellner, with Douglas Carter Beane
Cast: Bianca Bruce, James Bryers, Rhonda Burchmore, Casey Donovan, Genevieve Lemon, Sophie Montague, Raphael Wong
Images by Daniel Boud

Theatre review
Deloris takes refuge in a convent, after getting in trouble with her gangster boyfriend. An opportunity to escape the seedy underground of Philadelphia presents itself, but it is up to our protagonist to make the right decisions. Sister Act the musical is based on the hugely popular Hollywood film from 1992, and although lacking the wit of the original, the charm of its characters is dutifully retained, to provide amusement for a wide range of audiences.

Music by Alan Menken is catchy and uplifting, taking inspiration from gospel and disco, in an adaptation that takes the action back to the heady 70s. Deloris is played by the luminescent Casey Donovan, who aside from being eminently likeable, sings every note to perfection, demonstrating extraordinary vocal versatility, in a deeply satisfying performance of some very demanding songs.

All other members of cast too, impress with their talent and dedication. Genevieve Lemon brings authenticity and warmth to her portrayal of Mother Superior. Rhonda Burchmore and Raphael Wong are standouts, with their dazzling comic dexterities, able to elevate some frankly ordinary material, and turn their parts memorable. 

In Sister Act, we discover that it is through adversity that Deloris finds herself. Not unlike the nuns at Our Lady of Perpetual Sorrow, she learns the big lessons in life, by experiencing it the hard way. We can be critical of religious types who seem to indulge excessively in suffering, but there is no question that one can see the light much better, after being engulfed in the most agonising dark.

www.sisteractthemusical.com.au

Venue: Capitol Theatre (Sydney NSW), from Jun 9 – Jul 28, 2024
Music: John Kander
Lyrics: Fred Ebb
Book: Fred Ebb, Bob Fosse
Cast: Asabi Goodman, Lucy Maunder, Peter Rowsthorn, S. Valeri, Zoë Ventoura, Anthony Warlow
Images by Jeff Busby

Theatre review
Roxy Hart and Velma Kelly were reality stars, before the advent of television. Americans were gripped by the hijinks of the two criminals, with relentless press coverage reflecting an obsession for scandal, long before click-baiting had become par for the course in the media business. It may seem some things never change, and so it is that Chicago the musical can still feel relevant, almost half a century after its initial staging.

In this incarnation, based on the 1996 revival directed by Walter Bobbie, we discover that it is not just the themes, but also its style that feels hitherto unsurpassed. From its Bob Fosse-inspired choreography, and the vaudevillian jazz score, to the female-forward representations of characters and relationships, Chicago seems to have aged only slightly, and in the most delightful ways. There is something intrinsically subversive about the show, that allows it to stand the test of time.

On this occasion, it is the ensemble that really delivers the goods. Each supporting member of cast is alluring and robust, proving themselves completely captivating, whether or not they are occupying centre stage. Lucy Maunder and Zoë Ventoura are the leading ladies, both demonstrating technical brilliance, although others with more powerful voices have certainly sung those parts to greater effect. Thankfully, the eternally dependable Anthony Warlow is on hand to deliver vocal perfection as the unscrupulous Billy Flynn. Also noteworthy is the winsome Peter Rowsthorn, who absolutely shines as the tenderly comical Amos Hart.

Women are constantly pitted against each other, in Chicago and in real life. We comply and enact repeatedly that narrative of contest and conflict, thinking only about momentary victories, and ignoring the perpetual state of failure, that inevitably results. Women embracing rugged individualism under the patriarchy, is manifestly absurd. Prescribing to anything that relies on the suffering of the majority, is plainly ignorant. At the end, Roxy and Velma are left to their own devices, and they realise that sisterhood is the only way to survive, and perhaps thrive. 

www.chicagomusical.com.au

Venue: Capitol Theatre (Sydney NSW), from Mar 24 – Jun 1, 2024
Book, Music & Lyrics: Jim Jacobs, Warren Casey
Director: Luke Joslin
Cast: Brianna Bishop, Cristina D’agostino, Tom Davis, Mackenzie Dunn, Keanu Gonzalez, Annelise Hall, Catty Hamilton, Marcia Hines, Jay Laga’aia, Patti Newton, Andy Seymour, Joseph Spanti, Caitlin Spears, Harry Targett
Images by Jeff Busby

Theatre review
It is more than 50 years, since the original premiere of the musical Grease, and even though its songs remain as delightful as ever, its story could not be more antiquated. Nonetheless, the show is a much-loved classic, and can always be considered ripe for reinvention. It is therefore disappointing that this new iteration under the direction of Luke Joslin, chooses to be faithful, in both stylistic and ideological terms, to the Grease of the 1970s. Through no fault of Sandy’s own, she is again required to go through an awkward, and completely inauthentic transformation, in order to attain happily ever after. 

Of course, the narrative was always absurd, which is probably why the musical genre feels appropriate for farcical stories of this nature. The current production however lacks a campness that could have ameliorated many of it deficiencies. There is a sterile quality to the presentation, also noticeable in music direction by Dave Skelton, which sounds frankly soulless, for a work famed for its humorous expressions of teenage rebellion.

There is no doubt that the cast works hard to bring ebullience, but comic timing proves not to be their strong suit. Singing and dancing are of a high standard though, with nostalgic choreography by Eric Giancola contributing much needed pizzazz. Annelise Hall and Joseph Spanti play the leads, both delivering commendable vocals, and are physically attractive as Sandy and Danny, although unable to compensate for the general shortage of charisma on this stage.

Set design by James Browne is ambitious, and even though not sufficiently refined, does manufacture a satisfying grandeur. Browne’s costumes add colour and a charming whimsy, and along with dynamic lights by Trudy Dunn, imagery is consistently captivating, for an otherwise lacklustre experience.

Sandy was always fine as she was. Furthermore, Danny had adored her whether she presented innocent or provocative. In 50s America though, they both had to acquiesce to standards of behaviour that were far too oppressive and invasive, unable to escape peer pressure of high school, which served as a microcosmic representation of the wider world. Things feel different now, but it is hard to be sure if changes are true and fundamental, or if it is only the way we talk that has altered.

www.greasemusical.com.au