Tag Archives: darlinghurst

Review: Beautiful Thing (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Dec 3 – 13, 2025
Playwright: Jonathan Harvey
Director: Finn Stannard
Cast: Poppy Cozens, Max Dÿkstra, Michael Hogg, Willa King, Jake Walker
Images by Alexandra Tiernan, Yingying Zhang

Theatre review

It is challenging enough for two teenage boys to fall in love, but the lower-socioeconomic circumstances into which Jamie and Ste are born make the prospect exponentially more fraught. Jonathan Harvey’s seminal Beautiful Thing may be more than thirty years old, yet not a moment of it feels antiquated. Still resonant and urgent, the play continues to illuminate a vital social discourse while remaining every bit as entertaining and affecting as it ever was.

Under the direction of Finn Stannard, this production proves a genuine delight, distinguished by its keen focus on the intimacies between characters and its palpable tenderness toward individuals navigating their own distinct hardships. The set, designed by Laila McCarthy and Zoe Young, is both convincing and versatile, while Raphael Gennusa’s unadorned lighting design shifts quietly, guiding us gently through the changing moods of each scene.

Jake Walker engenders genuine empathy as Jamie, delivering a persuasive portrait of youthful innocence edged with quiet longing. Max Dÿkstra may veer toward understatement as Ste, yet his restraint never obscures the depth of the young man’s turmoil, which remains palpable throughout. Their mutual friend Leah is vivaciously inhabited by Poppy Cozens, whose irrepressible sass and streak of mischief punctuate the play with welcome irreverence. Equally playful is Willa King as Jamie’s mother, Sandra; she injects the production with invaluable verve and humour, while capturing with striking precision the realities of a single mother navigating the precarity of the lower working class. Her boyfriend Tony, portrayed by Michael Hogg, may not always land the comedic beats, but he compensates with a deft sensitivity that emerges at precisely the moments the drama most requires.

In 1993, few could have imagined that same-sex marriage would become a lived reality within a single generation, yet history has a way of revealing humanity’s capacity for radical progress. For many queer youth, particularly those in the West, growing up beyond the strictures of heteronormativity has grown markedly less daunting with each passing decade. Living in poverty, however, remains a far more stubborn barrier to liberation, especially in an era marked by worsening wealth disparities that entrench disadvantage as swiftly as social attitudes evolve. It is a sobering reminder that equality in law does not instantly translate to equality in life — and that love, though triumphant, still has to fight for its footing.

www.qtopiasydney.com.au | www.companyofdramaticarts.com

Review: Gravity (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Nov 12 – 29, 2025
Playwright: Bradford Elmore
Director: Anthony Skuse
Cast: Wesley Senna Cortes, Annabelle Kablean, Drew Wilson
Images by Phil Erbacher

Theatre review
Christopher is sleeping with David, which is a problem because he lives firmly in the heteronormative world and remains deeply in love with his wife, Heather. The late discovery of his bisexuality is proving highly inconvenient, especially in a milieu where monogamy is the norm and hearts shatter at the faintest whiff of infidelity. In Gravity, Bradford Elmore charts a double-pronged coming out: a man who finds himself unexpectedly same-sex attracted, and simultaneously yearning for a polyamorous life. Elmore’s play is sensitively rendered and undeniably thoughtful, but its narrative ultimately drifts in circles, its ideas stagnating and looping without sufficient progression.

Direction by Anthony Skuse is deeply respectful of the experiences being depicted, perhaps a touch too solemn for a story that is ultimately not all that heavy. His set design mirrors his directorial sensibility—elegant, measured, and marked by a tasteful restraint. James Wallis’ lighting is a quiet triumph, infusing the staging with a tender, luminous beauty. The cast of three deliver focused, committed performances, though their occasional drift into melodrama feels misplaced. A sharper vein of humour would have gone a long way toward making the production a more engaging and dynamic watch.

People cannot help how they fall in love, and Christopher’s story reminds us that what is utterly natural becomes endlessly tangled by societal norms. Gravity reveals how the lives we imagine for ourselves are so often built on fanciful ideals and inherited conventions. Humans struggle to simply let things be; we push against our own nature, believing our choices to be rational, even as they lead us down winding, fruitless paths. The place where Christopher finally arrives should always have been clear, yet it seems we must wander through frustration and heartache before recognising the truths that were quietly waiting for us all along.

www.qtopiasydney.com.au | www.rogueprojects.com.au

Review: Bonny & Read (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Oct 29 – Nov 8, 2025
Music and Lyrics: Ben James, Aiden Smith, Emily Whiting
Book: Aiden Smith, Emily Whiting
Director: Holly Mazzola
Cast: Elliot Aitken, Tori Bullard, Percy Chiu, Max Fernandez, Ben James, Helen Jordan-Lane, Gabi Lanham, Jack Mitsch, Alex Travers
Images by Patrick Phillips

Theatre review
Mary Read’s longing for the sea compels her to disguise herself as a man and sign aboard a merchant vessel. Fate brings her face to face with the infamous pirate Anne Bonny, and what begins as captivity soon evolves into love. In Bonny & Read, writers Ben James, Aiden Smith, and Emily Whiting revisit this 18th-century romance through a distinctly contemporary lens, crafting a musical that reclaims two legendary women from history’s margins and lets their passion sail freely at last.

The songs are engaging, if somewhat conventional, elevated by Iris Wu’s sumptuous musical direction and the cohesive aural textures shaped by sound designer Sam Cheng. While the story itself is compelling, the book of Bonny & Read can feel unnecessarily convoluted, and Holly Mazzola’s direction does little to untangle its narrative knots. Still, her instinct for spectacle is undeniable, and with Lauren Mitchell’s energetic choreography, the production maintains a lively momentum even when its storytelling falters.

Geita Goarin’s production design is modest but evocative, sketching the period with just enough texture to spark the imagination. It is, however, Luna Ng’s lighting that truly captivates — rich in drama and ambition, it shapes the emotional contours of the piece with clarity and grace, revealing the story’s subtler undercurrents and giving its sentiment a luminous depth.

Vocally, the cast ranges from competent to exceptional, with Gabi Lanham delivering a standout performance as Mary Read, her voice both rich and assured. The acting, however, is uneven across the ensemble. Tori Bullard brings sincerity and emotional intensity to Anne Bonny, offering a grounded presence amid the production’s more variable performances.

The story of Mary Read and Anne Bonny is a vivid reminder of queer forebears whose lives were too often erased or silenced by history. Their courage — at sea, in love, and in defiance of rigid conventions — still echoes across the centuries. Bonny & Read illuminates this hidden legacy, celebrating two women who claimed their freedom on their own terms, and suggesting that queer communities might take a page from the pirate’s book: to chart daring courses, embrace audacity, and live boldly, even when the world seeks to bury them.

www.qtopiasydney.com.au

Review: Fekei (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Oct 8 – 18, 2025
Playwright: Sarah Carroll
Director: Sarah Carroll
Cast: Melissa Applin, Natalie Patterson, Kikki Temple, Lawrence Ola, Naisa Lasalosi, Mele Telefon
Images by DefinitelyDefne Photography

Theatre review
Akanisi returns to her hometown in Fiji for what was meant to be a relaxing visit, but the trip quickly becomes fraught with tension when her girlfriend Sam joins her, with her family remaining unaware about Akanisi’s queerness. Fekei by Sarah Carroll explores how postcolonial societies grapple with the lingering influence of Christian doctrines that have bred prejudice and shame. Yet, it also reveals how deeply rooted cultural traditions can offer resilience and acceptance, standing firm against the harmful legacies of biblical indoctrination.

It is a sincere work by Carroll — tenderly written and often humorous in its portrayal of cultural idiosyncrasies. Their direction, however, lacks refinement; the rawness of approach occasionally renders scenes forced or unconvincing. Yet, Luna Ng’s commendable lighting design provides a counterbalance, its sensitive evocation of atmosphere helping to guide the audience through the production’s emotional shifts.

Melissa Applin brings a quiet sincerity to Akanisi, while Natalie Patterson infuses Sam with a buoyant, infectious energy. Yet the emotional core of their relationship never quite lands, and a stronger chemistry between the two would give the story greater pull. As Akanisi’s family, Kikki Temple and Naisa Lasalosi are a delight — playful, camp, and full of heart — offering both comic relief and genuine tenderness. In supporting turns, Lawrence Ola and Melehola Telefoni add texture and vibrancy, enriching the play’s portrait of everyday life in Fiji.

Queer people have every right to want acceptance, a pursuit that is both natural and deserved, though sometimes harmony is the closest we can come. The influence of religion in the Pacific runs deep; after more than two centuries of Christian indoctrination, its unravelling will take generations. During her fleeting return home, Akanisi cannot hope to rewrite her grandmother’s faith, but within their shared customs lies an older wisdom: one that values peace, patience, and the quiet endurance of love.

www.qtopiasydney.com.au

Review: Foam (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Aug 6 – 23, 2025
Playwright: Harry McDonald
Director: Gavin Roach
Cast: Joshua Merten, Patrick Phillips, Timothy Springs, Chad Traupmann
Images by Robert Catto

Theatre review
Nicky Crane was British, gay and a neo-Nazi. The play Foam by Harry McDonald chronicles Crane’s life from 1974 at the age of 15, until his AIDS-related death in 1993. While people like Crane may seem best left to oblivion, there is merit in remembering atrocities, if only to guard against their repetition. While McDonald’s writing presents itself as a candid account of the man’s life, it occasionally lapses into sympathy, rendering the show an uneasy experience.

Direction by Gavin Roach embraces an unadorned aesthetic that suits the material, but an absence of a clear political stance and sufficient dramatic tension, leaves the production feeling somewhat inert. Actor Patrick Phillips is noteworthy for the commitment he brings to the lead role. While he struggles to convey the menacing quality essential to the story, his unwavering focus throughout the production’s entire duration remains impressive. 

It is true that we stand upon the shoulders of giants, but it is also true that there are parts of our collective histories that are shameful and deplorable. As a community that has endured immeasurable injustice and persecution, it might seem natural that we would know better than anyone how to reject hatred and oppression. Yet the truth remains, that some will carry that cruelty within, letting it shape the course of their lives.

www.qtopiasydney.com.au

Review: Heaven (Qtopia)

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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: 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: Your Silence Will Not Protect You (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Feb 20 – 22, 2025
Playwright: Gavin Roach
Director: Lauren Hopley
Cast: Gavin Roach

Theatre review
In the one-person show Your Silence Will Not Protect You, Gavin Roach reveals details about their own mental health issues, alongside memorable instances of what could be described as bad decisions. It may not be that every one of those misadventures are a consequence of Roach’s illnesses, but as we witness the playwright and performer articulate their stories from a singular vantage point, it becomes inevitable that one should draw correlations between the two.

It can be an awkward experience, listening to Roach’s challenges. They appear eager to entertain and even amuse, but the gravity of the subject matter almost precludes us from responding in any way that might suggest that the information is being received for entertainment purposes. We feel as though the appropriate stance should be somewhat clinical in attitude, that either laughter or excessive empathy could be patronising, or even harmful.

Nonetheless, Roach’s delivery ensures that their psychological condition is being witnessed, that mental illness in general, is seen in Your Silence Will Not Protect You. Their proficiency on stage demonstrates that a person’s suffering is almost always disguised, and that judging a book by its cover is indeed meaningless. Much of illness is not visible. The people we encounter could be harbouring all manner of undetectable maladies, and our first instinct should always be one of kindness.

www.qtopiasydney.com.au | www.gavinroach.com

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: A Model Murder (Sydney Festival)

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Venue: Darlinghurst Courthouse (Darlinghurst NSW), Jan 4 – 25, 2025
Playwright: Sheridan Harbridge
Director: Sheridan Harbridge
Cast: Blazey Best, Marco Chiappi, Amber McMahon, Ryan Morgan, Maverick Newman, Sofia Nolan, Anthony Taufa 
Images by Neil Bennett

Theatre review
It was 1954 when Shirley Beiger shot and killed her boyfriend in Sydney. The story quickly became a media sensation, with the trial attracting inordinate amounts of public attention and scrutiny. In Sheridan Harbridge’s theatrical retelling A Model Murder, named after the perpetrator’s profession, the simple open and shut case is expanded to provide a nostalgic perspective of the celebrity criminal, a phenomenon which has only increased in prominence through the years.

The show is immensely entertaining, made captivating at every juncture by Harbridge’s imaginative renderings of a brief moment in time. There may not be substantive explorations into Beiger’s psychology leading up to the catastrophic incident, but A Model Murder proves a charming and approachable examination of an intriguing morsel of our city’s history.

Staged within an actual courthouse, with production design by Michael Hankin taking care to accentuate the authenticity of the surrounds, and enhanced by striking costuming that adds considerable visual flair. Lights by Phoebe Pilcher are thoroughly considered, not only to deliver dramatic effect, but also a sense of sumptuousness to this biography about someone renowned for her physicality. Sounds by Zac Saric and music by Glenn Moorhouse, fill the space not only with tension, but also an unmistakeable glamour befitting the subject matter. Also elevating proceedings is Vi Lam’s alluring movement direction, for the many musical interludes that pay tribute to our city’s nightlife and entertainment industry.

Actor Sofia Nolan is appropriately enigmatic as Beiger, with an inscrutability that only makes her presence more compelling. The supporting cast is highly endearing, especially Blazey Best and Amber McMahon who bring magnetism along with wonderful idiosyncrasies, to their meticulous embodiments of some very colourful characters.

We are shaped by endless tales of this city. Whether remembered or forgotten, we live in the midst of the countless infinitesimal narratives that have made Sydney and Gadigal what it is, connected through time that is cyclic yet amorphic. Human skin provides the illusion of our disconnectedness, but the truth is that this place determines so much of who we become. The stuff that we make manifest, seeps into one another. Our decisions will always be born out of culture, much as the current epoch exalts notions of individuality. The truth remains that humans can only survive through care, even though our natural inclinations so often seem to push us the other way.

www.sydneyfestival.org.au | www.lpdprod.com