Tag Archives: drama

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: No Love Songs (Foundry Theatre)

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Venue: Foundry Theatre (Pyrmont NSW), Mar 7 – Apr 13, 2025
Book: Laura Wilde, Johnny McKnight
Songs: Kyle Falconer
Director: Andrew Panton, Tashi Gore
Cast: Keegan Joyce, Lucy Maunder
Images by Brett Boardman

Theatre review
It appears to be the most ordinary of romances when Lana and Jessie meet, but things take a dark turn after the birth of their baby. Post-natal depression may give No Love Songs much needed gravity, but there is no denying the dreariness it adds to an already lacklustre experience. Based on a true story from creators Kyle Falconer and Laura Wilde, No Love Songs is replete with honesty, always guided by integrity in its very personal revelations. The musical however, requires more than sincerity to deliver entertainment.

Directed by Andrew Panton and Tashi Gore, the production is certainly well rehearsed, with an evident polish that conveys a sense of confidence. Visual elements are kept simple, with lights by Grant Anderson commendable for introducing a quotient of drama. Work by Mark Chamberlain on music direction and accompaniment is a delight, even if energy of the piece never ceases to gradually and persistently falter. 

The combination of performers Keegan Joyce and Lucy Maunder may lack chemistry, but each demonstrates themselves to be individually accomplished. There is great detail in their efforts at bringing Lana and Jessie to life, both with remarkable conviction for their parts, along with strong vocals that prove their mettle.

Theatre can be as earnest as any story needs for it to be, but it is a space where imaginativeness should be able to run wild. No Love Songs is perhaps too plain in its expressions of an intense human moment. It is wonderful to attain a state of empathy through art, for it offers an avenue of communication that is unpredictable, when the normal ways fail to move.

www.nolovesongs.com.au

Review: Iphigenia In Splott (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Mar 7 – 22, 2025
Playwright: Gary Owen
Director: Lucy Clements
Cast: Meg Clarke
Images by Phil Erbacher

Theatre review
Living in the south of Cardiff is Effie, a young woman with no real purpose in life. After a chance encounter with a military veteran however, things begin to change. Iphigenia in Splott by Gary Owen deals with the underclass, paying specific attention to their relationship with public services. There are sections of the writing that can feel slightly diminishing of women’s experiences, but its plot is highly entertaining, and as a one-person show, its scope for performance is remarkably versatile, presenting a great opportunity for an actor to showcase their talent and range.

Meg Clarke takes on the challenging role with aplomb, completely astonishing with the depth and drama she brings to the stage. The emotions she offers are as intense as they are authentic, effortless at making Effie’s plight feel affecting from start to end. Clarke’s timing is perfectly honed, and the intricacy with which she breathes life into the text is simply awe-inspiring.

Direction by Lucy Clements keeps the show dynamic and engaging, with an urgency that ensures its message cuts through successfully. Production design by Angela Doherty provides just enough embellishment for the performer to shine. Luna Ng’s lights richly enhance the story with commendable imaginativeness, while Chrysoulla Markoulli’s sounds shift us through the many temperaments as we follow Effie’s misadventures. The wonderful rigour and cohesion of Ng and Markoulli add a valuable quality of transcendence, to the earthy explorations of Iphigenia in Splott.

The play demonstrates the wilful neglect of the powerless, as social infrastructures are allowed to erode in places like the UK. Intrinsic to prevailing capitalistic values, is a contempt for the poor. Although inhumane, we have learned to regard their misfortune as deserving, convincing ourselves that any person can easily pull themselves up by their bootstraps. The truth is that people’s circumstances are often beyond control, and the refusal to help those in need, can only mean that we are nothing more than monsters.

www.oldfitztheatre.com.au | www.newghoststheatre.com

Review: MJ The Musical (Sydney Lyric Theatre)

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Venue: Sydney Lyric Theatre (Sydney NSW), from Feb 25, 2025
Book: Lynn Nottage
Director: Christopher Wheeldon
Cast: Roman Banks, William Bonner, Liam Damons, Derrick Davis, Yashith Fernando, Josslynn Hlenti Afoa, Penny McNamee
Images by Daniel Boud

Theatre review
There was a time when Michael Jackson had the world in the palm of his hand, as the unequivocal king of pop. MJ the Musical charts his rise to fame and glory, ending understandably right before it all turned sour; the many accusations of child sexual abuse were never going to make sense in a celebration of the man’s commercial successes. A dark cloud may hover, but the show is nonetheless spectacular.

Jackson made some of the biggest hits anybody had ever known, and having them collated for a musical theatre work was always going to be a thrilling proposition. Writer Lynn Nottage focuses on the period of rehearsals for his 1992 Dangerous World Tour, when he was at the height of his powers, but also includes many nostalgic recollections of earlier key moments in Jackson’s career, including his formative years as a child star.

Although unable to provide honest disclosures about what we now know to be the man’s biggest secrets, Nottage’s book is an enjoyable effort at making all the songs coalesce in a single digestible package. The true star of the show however, is the very translation of Jackson’s music from pop records to the Broadway stage, retaining their immense original appeal without compromising on the soul, rock and electronic elements that often get diluted when recontextualised for the stage musical format. Jackson’s life story may not be very moving, but his music certainly is.

Three extraordinary performers depict the star at different stages of life. Roman Banks is a remarkable leading man, astonishing with his mimicry of Jackson’s signature voice and physicality, during the mature period. The magnetic Liam Damons is a revelation in mid-career segments, vivacious and captivating in his personification of someone with everything to live for. The wunderkind version is played by the incredibly talented William Bonner, who represents perfectly the enchanting magic of one of the world’s greatest entertainers. Also memorable are Josslynn Hlenti Afoa and Derrick Davis as the Jackson parents, both bringing valuable sentimentality to the staging.

An auditory and visual delight, MJ the Musical is a complete sensation. For a couple of hours, we discover that art can be separated from its artist, even when the work is ostensibly entirely about the artist. Whether a person can be forgiven for heinous acts, even after death, will forever be a matter of contention. The good things Michael Jackson left behind are however, irresistible.

www.mjthemusical.com.au

Review: Henry V (Bell Shakespeare)

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Venue: Sydney Opera House (Sydney NSW), Mar 1 – Apr 5, 2025 | Merrigong Theatre Company (Illawarra Performing Arts Centre) Apr 30 –May 3, 2025
Playwright: William Shakespeare
Director: Marion Potts
Cast: Jack Halabi, JK Kazzi, Alex Kirwan, Odile le Clézio, Ava Madon, Harrison Mills, Ella Prince, Jo Turner, Mararo Wangai, Rishab Kern
Images by Brett Boardman

Theatre review
It could be argued that Shakespeare had intended for the play Henry V to remain ambiguous, in its attribution of heroism to the titular role. Thousands die as a result of Henry’s war, yet there is no significant disparagement of the king’s character. We may like to think that changes have occurred over these four centuries, and our attitudes about war are no longer what they used to be, but in this very moment of political reversion, it appears that efforts to normalise aggression between nations, are back again.

Director Marion Potts however takes a decidedly anti-conflict stance, in a staging that makes no bones about the brutality that inevitably ensues, when soldiers are required to do their leaders’ bidding. There is no glorification of the battlefield, even if the king does retain his air of majesty. Movement and fight direction by Nigel Poulton is a memorable feature, as we watch the troops’ kineticism being expressed with an enjoyable poetic quality.

Lead actor JK Kazzi demonstrates strong focus and commitment, if slightly deficient in charisma. It is overall a cohesive cast, effective at manufacturing dramatic tension for key moments. Set and costume design by Anna Tregloan are contemporarised with a pleasing sleekness, and are appropriately masculine in style. Lights by Verity Hampson depict a severity necessary for this exploration of violence, but could benefit from a greater embrace of the story’s heightened sentimentality. Sounds by Jethro Woodward are wonderfully theatrical, and impressive for the rigour that allows us to detect every shift in time and space.

In the west these recent years, wartime had begun to seem a distant past. Today there is a shift afoot, and peace is again under threat, as powerful leaders disrupt old alliances, in favour of new arrangements that undermine democracy. It is a shameless power grab, the nature of which is so alien to current generations, that we feel ill-equipped to fight against. So much is lost by the end of Henry V, but they still call it a victory.

www.bellshakespeare.com.au

Review: Don’t Save Me (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Feb 26 – Mar 8, 2025
Playwright: Karina Young
Director: Nelson Blake
Cast: Raechyl French, Ben Itaba, Holly Mazzola
Images by Phil Erbacher

Theatre review
Jade is not only battling a terminal illness, she has to fight her husband Pat who plans to create a digital facsimile of her, using the latest in AI technology. As well as the subject of consent, Don’t Save Me by Karina Young explores the ethics around the replication or simulation of a person after death. Although timely, the play is insufficiently imaginative, with a persistent mundanity to its dialogue that makes a fascinating concept seem almost banal.

Direction by Nelson Blake places emphasis on locating the emotional truth of the piece, and little more, resulting in an experience that feels somewhat pedestrian. There is however a great sense of commitment on the stage, with cast members Raechyl French, Ben Itaba and Holly Mazzola, bringing diligence to their interpretations of characters.

Production design by Andrea Knezevic offers efficient solutions that transform the space into a conventional living room. Lights by Topaz Marlay-Cole help render an elegance to the imagery being presented, and sounds by Felix Partos are introduced at key moments to enhance tension.

Don’t Save Me is not quite science fiction, as the circumstance it depicts has already arrived, yet we are still struggling to grapple with that new reality. Technology forges ahead whether we welcome or resist it. We have in the past been able to shape its development, but in this age of tech autocracy, there is little that our democratic will can do.

The billionaires who rule technology are completely impervious to any of our objections. We continue to think that how we spend our money is able to sway their operations, but it is evident that their wealth has become so immense that any reduction in profit we can effect, no longer means anything. Legal recourses have proven ineffectual, even as they are being taken over by a new era of oligarchy. It is only revolution that remains, but it is doubtful if we can awaken soon enough, from this soporific state of our tech-fuelled stupor.

www.kingsxtheatre.com | www.instagram.com/puncherschanceco/

Review: Song Of First Desire (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Feb 13 – Mar 23, 2025
Playwright: Andrew Bovell
Director: Neil Armfield
Cast: Kerry Fox, Borja Maestre, Jorge Muriel, Sarah Peirse
Images by Brett Boardman

Theatre review
The Spanish Civil War ended officially in 1939, but it appears reverberations from the bloodshed continue to this day. There are two distinct periods in Andrew Bovell’s Song of First Desire, 1968 and the present day. The story of one family spans those decades and three generations, revealing the brokenness of the Spanish soul that continues to seek mending. It is an intricate piece of writing, with cleverly woven fragments that spark intrigue, culminating to plot twists that prove highly satisfying.

Directed by Neil Armfield, the narrative’s sombre sense of gravity is always present, as is the weightiness of the sociological concerns that Song of First Desire wishes to explore. Emotions however do not always run high, in a show that is only occasionally evocative of the essence of a culture it represents.

Set design by Mel Page features a striking reference to the barrenness of a nation that struggles to piece itself back together. Lighting by Morgan Moroney, along with sound and music by Clemence Williams, are effective in calibrating a mournful quality for this reflective experience. A more distinct rendering of time and place could make our connection to the work feel richer. Even though the production’s integrity never comes into question, a greater air of authenticity is needed to inspire a more intense visceral response.

Actor Sarah Peirse sets an elegant tone with her quiet interpretations of Camelia and Margarita. Borja Maestre brings soulfulness to the stage, through his sensitive portrayals of Alejandro and Juan. Playing Julia and Carmen is Kerry Fox, memorable for dialling up the drama at opportune moments. A valuable warmth is contributed by Jorge Muriel as Luis, who then turns chilling as the frightening Carlos.

It is sobering to observe characters in Song of First Desire suffer the consequence of prolonged unrest. We are now in a moment of watching history repeat as despotism begins to take hold, in the most powerful office on earth. The worst has yet to transpire, but damage is already evident. At this time, strategies for survival, are as important as strategies for reconstruction. Choosing between safety and resistance will often seem difficult, but the key is to make it through to the end of this ordeal.

www.belvoir.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