Tag Archives: comedy

Review: Heaven (Qtopia)

Posted in Theatre by

Venue: Qtopia (Darlinghurst NSW), May 14 – 31, 2025
Playwright: Eugene O’Brien
Director: Kate Gaul
Cast: Noel Hodda, Lucy Miller
Images by Alex Vaughan

Theatre review
Mairead and Mal are attending a wedding, but we see them spend all of their time apart, even though they are themselves a married couple. Heaven by Eugene O’Brien comprises two interweaving monologues, about people who are “fifty-plus” in age. It explores ideas of finality and potential, for those who have lived prescribed lives, exhausting all rules and expectations, only to find so much more that can be experienced.

A gently humorous work, directed by Kate Gaul with elegant conciseness, Heaven speaks with simplicity, about notions of personal fulfilment, especially for middle-aged individuals who tend to be characterised as being past their prime. Convincing performances by the cast inspire meditations on the meanings of freedom and selfhood.

Noel Hodda as Mal is compelling with his cheeky charm, and Lucy Miller’s effortless sass for the role of Mairead conveys the possibilities, of attaining something greater, if only one would allow themselves that liberty. Also noteworthy is Topaz Marlay-Cole, whose subtle lighting design provides appropriate enhancements at every atmospheric shift.

Central to the story are the character’s sexualities, and how Mairead and Mal are incompatible on that front. They take time apart to discover what it is that excites them, and therefore find versions of selves that are deeper and more authentic. Never for a moment in Heaven do wife and husband see or speak with each other. All of this happens at a wedding, which only serves to make us feel more than a little sceptical about that ancient tradition.

www.qtopiasydney.com.au | www.bitchenwolf.com

Review: Women On The Verge Of A Nervous Breakdown (Hayes Theatre)

Posted in Theatre by

Venue: Hayes Theatre Co (Potts Point NSW), May 9 – Jun 8, 2025
Music & Lyrics: David Yazbek
Book: Jeffrey Lane (based on the film by Pedro Almodóvar)
Director: Alexander Berlage
Cast: Nina Carcione, Andrew Cutcliffe, Grace Driscoll, Amy Hack, Tomáš Kantor, Tisha Kelemen, Aaron Robuck, Mel Russo, Sean Sinclair
Images by Daniel Boud

Theatre review
In the films of Pedro Almodóvar, it is often the storytelling, rather than the stories themselves, that matters the most. In his iconic 1988 offering Women on the Verge of a Nervous Breakdown, the narrative is simply one of a woman being jilted, but it is the unique way in which characters and places are represented, that leaves a startling impression. This stage adaptation by Jeffrey Lane and David Yazbek too, seems unremarkable on the surface, but proves fertile ground for something quite spectacular to be built upon.

Alexander Berlage’s ingenious direction of the piece preserves the essence of Almodóvar’s original and oeuvre, whilst manufacturing real frisson for a live audience. The manic chaos of women being on the brink, is harnessed into a splendidly entertaining package of rambunctious theatricality, before we find ourselves landing somewhere surprisingly poignant. Berlage’s imaginative artistry, along with his effortless stylishness, delivers a production exciting at every moment, as it seeks to express itself unconventionally at every turn. Choreography by Chiara Assetta further amplifies that spirit of unpredictable inventiveness, much to our delight.

Set design by Hailley Hunt incorporates haphazard angles and cosmetic disarray, not only to represent the emotional states being explored, but also to facilitate for the staging, a dynamism in the very physicality of its cast members. Costumes by Sam Hernandez are certainly evocative of Madrid forty years ago, adding intricacy and interest to the overall visual textures being rendered. Phoebe Pilcher’s lights are an unequivocal highlight, with endless configurations of colour and intensity to keep us absorbed in all the frenzied action.

Leading lady Amy Hack embodies convincingly, both the comedic and traumatic dimensions of this Spanish pseudo melodrama. As Pepa, she brings great verve from start to finish, and always keeps us firmly on her side. Grace Driscoll’s irresistible charm provides for Candela many unforgettable moments, while Tisha Kelemen’s satirical austerity as Lucia reminds us where the soul lies for this absurd presentation. Highly noteworthy are Tomáš Kantor as Carlos and Aaron Robuck as a taxi driver, both considered in their approach, giving us clarity and humour in equal measure.

There is an undeniably queer sensibility in Women on the Verge of a Nervous Breakdown, that figures centrally in its efforts at subverting sexism. There is an overt narrative about women finding independence, but there is also an aesthetic at play, that seeks to establish a new balance in the ways gender operates, in how we perceive the world, and how we traverse it.

Women and queer men are natural allies in resisting the patriarchy, but because the two factions often have separate and differing investments in the very thing it should overturn, efforts to disrupt the old order often diverge. Queerness however is by definition elastic, and if people of all genders are able to subscribe to its tenets, a greater unity can be forged to get us closer to the revolution.

www.hayestheatre.com.au | www.instagram.com/pinwheel_productions

Review: I & You (25A Belvoir)

Posted in Theatre by

Venue: Belvoir St Theatre (Surry Hills NSW), May 6 – 18, 2025
Playwright: Lauren Gunderson
Director: Claudia Barrie
Cast: Josh Hammond, Alyssa Peters
Images by Phil Erbacher

Theatre review
Caroline is confined to her home due to a chronic illness. When Anthony drops by from school to work on an assignment, they become fast friends, bonding over the artistic legacies of Walt Whitman, John Coltrane and Jerry Lee Lewis. In the play I & You by Lauren Gunderson, we not only observe the burgeoning relationship between two teens, but also meditate on the nature and meaning of death, in the presence of someone who has to grapple with mortality every day.

Gunderson’s writing is relentlessly optimistic, allowing director Claudia Barrie to place emphasis on comedic elements for an effervescent experience, that should prove particularly resonant for younger audiences. Performed by a highly endearing team of two, Josh Hammond and Alyssa Peters make their magical world sparkle with believability and tangibility. Their cohesiveness is a joy to witness, both actors keeping us completely at ease with the authenticity they so effortlessly bring to the stage.

Also noteworthy are lights by Saint Clair, that always feel considered in their approach, whether subtly modulating or dramatically embellishing. The set is designed by Saint Clair along with Masone Browne, to provide an elegant solution for specific requirements of the text. Emily Brayshaw’s costumes portray with accuracy, the style of regular teens who could reside either in Australia or America, whilst maintaining a flattering appearance for the cast.

There is real beauty in the fundamental truth of death, yet we try so hard to deny its existence.  The fact that time is limited, from the perspective of each individual perishable organism, should mean that moments big and small must be cherished, but all humans seem to do, is to imagine new ways to defy the inevitable. Life is already eternal, we only need to be appreciative of the infinite tiny encounters that materialise, from simply being here.

www.belvoir.com.au | www.madmarchtheatreco.com

Review: The Lover & The Dumb Waiter (Ensemble Theatre)

Posted in Theatre by

Venue: Ensemble Theatre (Kirribilli NSW), May 2 – Jun 7, 2025
Playwright: Harold Pinter
Director: Mark Kilmurry
Cast: Nicole da Silva, Gareth Davies, Anthony Taufa
Images by Prudence Upton

Theatre review
The Lover and The Dumb Waiter are one-act plays by Harold Pinter, currently being presented as a double bill. Both bear the dramatist’s characteristic absurdism, not only in their theatrical style but also in terms of what they say about the human experience. The former delves into the concept of monogamy, and the latter explores the idea of a person’s occupation. Pinter’s knack for making the ordinary appear strange, as can be seen in this pair of works, is perhaps one of his greatest contributions to art.

Direction by Mark Kilmurry locates for Pinter’s bizarre inclinations, a space of realism that allows us to see ourselves in characters who behave in unpredictable ways. The production tends to be excessively subdued in tone, which unfortunately diminishes its entertainment value. It is however a handsome staging, with Simone Romaniuk demonstrating commendable ingenuity and taste, in set and costume designs that are as transportive as they are appealing.

Actor Gareth Davies takes on key roles in both stories with a glint in his eye, charming us with the quiet mischievousness he brings to his interpretations. Nicole da Silva and Anthony Taufa are strong presences who keep us engaged, but can be somewhat understated in approach where bolder choices would be more effective. 

Questioning the very state of normalcy, is one of the biggest responsibilities of any artist. Even in abnormal times, when kleptocracy is taking hold in full view of populaces in previously democratic parts of the world, we need to be reminded of the differences between what is human, and what is manmade.

www.ensemble.com.au

Review: And Then There Were None (Theatre Royal)

Posted in Theatre by

Venue: Theatre Royal (Sydney NSW), May 3 – Jun 1, 2025
Playwright: Agatha Christie
Director: Robyn Nevin
Cast: Jack Bannister, Eden Falk, Jennifer Flowers, Nicholas Hammond, Mia Morrissey, Peter O’Brien, Christen O’Leary, Chris Parker, Anthony Phelan, Grant Piro, Tom Stokes
Images by Jeff Busby

Theatre review
Agatha Christie’s And Then There Were None was, believe it or not, originally titled Ten Little N****rs at its time of publication in wartime 1939, but it is ten ostensibly white people who we witness to have descended upon an isolated island off the Devon coast, in South West England. The mysterious gathering proceeds to see its guests and staff killed off one by one, after the last boat has left.

The classic whodunit is given the most traditional of treatments by director Robyn Nevin, who brings polish to a tried-and-tested style of theatre presentation. Nothing is being reinvented, but the formula works well to have us involved in the crime-solving pleasure, that is characteristic of Christie’s oeuvre.

A lavish production design by Dale Ferguson transports us somewhere fabulously rich, with lights by Trudy Dalgleish adding to the glamorous imagery. Paul Charlier’s sound design helps to escalate tension, as the story moves along. The ensemble is cohesive and equally matched, although it may seem that performers are more effective rendering dramatic rather than comical aspects, of this Golden Age detective story.

Although approaching a century old, it is possible to perceive in And Then There Were None the perverse phenomenon of grievance by the wealthy, that is today so prominent a feature of our social ills. Like the victims invited to the Owens’ murderous mansion, we find ourselves subject to the absolutely unjustifiable vengeful actions of the wealthy, who very weirdly and perplexingly believe,  that their misery can be mended by inflicting all manner of punishment on us.

www.andthentherewerenone.com.au

Review: IRL (KXT on Broadway)

Posted in Theatre by

Venue: KXT on Broadway (Ultimo NSW), Apr 25 – May 10, 2025
Playwright: Lewis Trestin
Director: Eugene Lynch
Cast: Andrew Fraser, Bridget Haberecht, Dominic Lui, Leon Walshe
Images by Justin Cueno

Theatre review
Tumblr was still a thing, when teenage best friends Alexei and Taylor attended a pop culture convention in cosplay, asking big questions about identity and reality. IRL by Lewis Trestin explores that perennial search for truth, from the perspective of those born in the digital era. Immersed in facsimile representations of personalities through electronic devices, and absorbed in commercialised prescriptions of humanity, characters in IRL endure intense challenges as they try to find themselves, in Trestin’s reflective but thoroughly mischievous play.

Direction by Eugene Lynch is commensurately vibrant, with an infectious spiritedness that keeps us invested in its wildly-imagined coming-of-age narrative. Cassidy McDermott-Smith’s choreography is an unequivocal delight, for a highly animated show that never shies away from physical comedy. Set design by Lochie Odgers is somewhat subdued, but costumes by Lily Mateljan and lights by Topaz Marlay-Cole ensure that imagery is consistently colourful and vivacious. Sound by Daniel Herten too is an uplifting feature, making believable all the outlandish expressions of youthful angst.

The piece is performed brilliantly by an immensely dedicated cast. Andrew Fraser brings extravagance, relentless but deliberate with the campness he introduces to Alexei, a queer high schooler on the cusp of puppy love. Bridget Haberecht delivers with considerable power, speeches that address directly the political concerns of a new generation, whilst delivering some truly delicious theatricality with her embrace of Taylor’s surreal world. Leon Walshe is very likeable as Thaddeus, a role he plays with admirable precision and persuasive focus. Dominic Lui is a charming scene stealer, incredibly funny with his idiosyncratic and perfectly timed manoeuvres, in a variety of roles that he makes hilarious in surprising ways. 

It is easy to come to a conclusion that perhaps nothing is real, but in IRL we are once again reminded that for all the unpredictabilities, whims and fluctuations of existence, it is always connection that proves meaningful. We can spend all our lives in self-examination, but little compares to the instances of when people connect, when we discover in those moments of authentic resonance, that everything else falls readily into disintegration.

www.kingsxtheatre.com | www.theothertheatre.com.au

Review: Posh (Old Fitz Theatre)

Posted in Theatre by

Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 19 – May 17, 2025
Playwright: Laura Wade
Director: Margaret Thanos
Cast: Tristan Black, Toby Blome, Mike Booth, Christian Byers, Max Cattana, Roman Delo, AJ Evans, Ryan Hodson, Charles Mayer, Dylan O’Connor, Dominique Purdue, Jack Richardson, Scarlett Waters, Anthony Yangoyan
Images by Robert Catto

Theatre review
The aristocracy may no longer be what it once was, but members of the secret Riot Club are certainly not giving up on their old beliefs. Posh by Laura Wade interrogates the British class system, with a specific focus on privileged young men, who are brought up to believe that their heritage makes them rightful leaders of the future. A scathing commentary on this particular segment of the elite, Wade’s play is an entertaining creation, if slightly simplistic and deficient in nuance.

Direction by Margaret Thanos imbues an intensity that has us captivated. Where there is a lack of complexity in terms of narrative and characters, Thanos provides extensive atmospheric enrichment, so that we may experience a consistent exhilaration, in the mischief and danger of what unfolds. An electrifying cast delivers a polished production, impressive with the cohesiveness and precision so evident in their work. Each actor is delightful, in a production memorable for its quality of performance.

Set design by Soham Apte is remarkable for its naturalism, leaving no doubt as to where the action is meant to occur. Aloma Barnes Siraswar’s costuming offers idiosyncratic and meaningful variations, to the patrician uniform that the men wear with revolting arrogance. Lights by Sophie Pekbilimli and sounds by Cameron Smith are not always imaginative and rigorous, but they rise to the challenge when the play veers momentarily into surreal territory. 

There is a sanctimonious pleasure in watching Posh, even if the truth points to power only ever working in one direction. It may feel like we are exploring the world of The Riot Club and its members in a superficial way, that the show only cares to depict caricatures, but there is no denying that the patriarchy’s persistent dominion is accurately conveyed. They no longer own everything, but it seems that nothing can quench their desire to exert influence over all of our lives.

www.oldfitztheatre.com.au | www.queenhades.com

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

Posted in Theatre by

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)

Posted in Theatre by

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)

Posted in Theatre by

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