Tag Archives: drama

Review: Bright Star (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Sep 5 – Oct 5, 2025
Music, Book & Story: Steve Martin
Music, Lyrics & Story: Edie Brickell
Directors: Miranda Middleton, Damien Ryan
Cast: Cameron Bajraktarevic-Hayward, Kaya Byrne, Victoria Falconer, Genevieve Goldman, Jack Green, Deirdre Khoo, Hannah McInerney, Jarrad Payne, Rupert Reid, Katrina Retallick, Felix Staas, Alec Steedman, Molly Margaret Stewart, Olivia Tajer, Seán van Doornum 
Images by Robert Catto

Theatre review
The story begins a century ago in North Carolina, where Alice falls pregnant out of wedlock and is forced to give up her child. At a time when single motherhood was considered unthinkable, women who defied convention by seeking independence or family without a husband were often subjected to severe persecution. Bright Star, the musical by Steve Martin and Edie Brickell, revisits this not-so-distant chapter of history, exposing the harsh, often barbaric conditions faced by some Americans. While the narrative tends to be too obviously tugging at our emotions, the production is buoyed by its irresistibly vibrant score, written in the bluegrass tradition, which remains a joy to experience.

Alec Steedman’s musical direction sweeps us into the romance and effervescence of every song, while co-directors Miranda Middleton and Damien Ryan shape the production into something strikingly elegant, imbued with warmth and empathy, even if the story’s separate timelines are not always clear. The design elements are handled with equal finesse: Isabel Hudson’s set exudes rustic charm yet retains a crisp sense of polish; Lily Matelian’s costumes evoke the American South with convincing detail, though they falter in ageing characters convincingly as the story shifts through time. James Wallis’ lighting is a continual delight—sumptuous, evocative, and unfailingly theatrical.

Hannah McInerney is commanding in the lead role of Alice, bringing remarkable depth and authenticity to the character, even if the distinction between her younger and older selves is not always sharply drawn. The two men in Alice’s life, played by Kaya Byrne and Cameron Bajraktarevic-Hayward, make a lasting impression with performances marked by sincerity, grounded realism, and an appealing lack of artifice. Also deserving mention are Deidre Khoo, Genevieve Goldman, and Jack Green, who, though in smaller roles, provide delightful flashes of humour and personality, their quirky characterisations and impeccable comic timing adding much to the production’s charm.

Not all storytelling lies in what is said, but in how it is told, and Bright Star is a case in point. The way its elements are assembled gives the production a resonance far greater than the sum of its parts. The meticulous musicianship, the generosity of its performers, and the discerning artistry of its designers coalesce to create a show that is consistently engaging, even when the plot itself borders on cliché. In this moment, we transcend the ordinary, reminded that art’s greatest gift is often the inspiration that it bestows.

www.hayestheatre.com.au | www.sportforjove.com.au

Review: Orlando (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Sep 6 – 28, 2025
Playwrights: Carissa Licciardello, Elsie Yager (from the novel by Virginia Woolf)
Director: Carissa Licciardello
Cast: Janet Anderson, Nyx Calder, Emily Havea, Amber McMahon, Nic Prior, Shannen Alyce Quan, Zarif
Images by Brett Boardman

Theatre review
At a pivotal moment in the production, Lord Orlando becomes Lady Orlando, and with this transformation, questions of gender and identity are revealed as the very axis of Carissa Licciardello and Elsie Yager’s adaptation of Virginia Woolf’s 1928 novel Orlando: A Biography. Shortened simply to Orlando, the work preserves the fantastical spirit and poetic sweep of Woolf’s novel, though some of its intellectual density seems to have dissipated in translation to the stage.

Its inquiries into sexism, while sincere, often feel suspended in the past, unable to reproduce the startling contemporaneity of Woolf’s text. At times, gender is rendered too simplistically in Licciardello’s direction. Yet the injustices faced by Lady Orlando—most notably the loss of property and wealth on account of her sex—remain a compelling anchor, ensuring the adaptation retains a measure of significance.

Given the scale of wealth under examination, the staging never quite achieves the level of opulence one might anticipate. David Fleischer’s set design is restrained yet elegant, while Nick Schlieper’s lighting adds welcome layers of drama. It is Ella Butler’s costumes, however, that most vividly conjure the dreamlike luxury of Orlando’s world, complete with outrageous wigs that deliver a sense of theatrical extravagance.

A delightful ensemble of seven performers leads us through this centuries-spanning odyssey. Remarkably, four different actors step into the role of Orlando at various stages of the story. Shannen Alyce Quan lends the character a quiet intensity, infusing Woolf’s poetic language with luminous clarity. Janet Anderson brings striking beauty to Orlando’s first feminine incarnation, and later proves irresistibly funny in a string of smaller roles. Equally memorable is Amber McMahon, regal and commanding as Queen Elizabeth, then deliciously camp as a seventeenth-century suitor.

The impermanence of identity underscores the endlessly shifting nature of what we call reality. This is not to say that categories like gender and sex lack meaning—on the contrary, they are among the most powerful forces shaping how we move through the world. Their paradox is that they remain fluid and insubstantial, yet exert a power that orders our very existence. It is precisely this tension, between mutability and determinism, that compels us to always return to them in endless questioning.

www.belvoir.com.au

Review: Life Is A Dream (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), Sep 2 – 21, 2025
Playwright: Claudia Osborne (after Pedro Calderón de la Barca)
Directors: Claudia Osborne, Solomon Thomas
Cast: Thomas Campbell, Mark Lee, Shiv Palekar, Essie Randles, Shikara Ringdahl, Ariadne Sgouros, Ariyan Sharma
Images by Phil Erbacher

Theatre review
For his entire life, 22-year-old Segismundo has been confined to a room, conditioned by Astolfo’s daily refrain that he is “dangerous and destructive, but not in this room.” Claudia Osborne’s Life is a Dream, inspired by Pedro Calderón de la Barca’s 1636 masterpiece, reimagines this tale of captivity and destiny for a contemporary audience. The production balances quirky charm and moments of playful wonder with a grounded exploration of the human condition. Osborne’s version points to the enduring dictum that our choices carry consequences, and that, ultimately, we reap what we sow.

Under the direction of Osborne and Solomon Thomas, Life is a Dream achieves a rare balance. Its offbeat humour keeps the work buoyant and unpredictable, while its underlying seriousness lends the production weight and resonance. The staging stands out for its distinctive style and inventive sensibility, which not only sustain engagement but also encourage the audience to grapple with its themes while remaining open to curiosity.

Ariyan Sharma shines as Segismundo, capturing a sheltered innocence that feels wholly authentic while subtly conveying the hidden truths his character has yet to grasp. He is a thoroughly endearing presence, remarkable for an artistry that combines keen intellect with expressive physicality. Thomas Campbell’s Astolfo brings tension and intrigue, his clever rendering of ambiguity opening up a world of imagined backstories that lead to this extraordinary moment. The rest of the cast add layers of psychological complexity and emotional richness, and together their chemistry transforms Life is a Dream into a fully immersive and enthralling theatrical experience.

Set and costume design by Cris Baldwin evokes a contemporary space, grounded in a sense of normalcy that keeps the audience connected to the action. Kelsey Lee’s lighting and Madeleine Picard’s sound design weave the atmosphere with quiet finesse, lending the production an elegant rhythm that draws us deeper into the story and the emotional lives of its characters.

This updated Life is a Dream resonates as a warning: when we withhold kindness from those over whom we hold power, it is our own cruelty that breeds further cruelty. Amidst all the political turmoil of 2025, we are compelled to approach this centuries-old tale not with innocence, but with clear eyes, aware of the dangers we continue to create, and the responsibility we bear to break these tragic cycles.

www.belvoir.com.au | www.fervour.net.au | www.regroupperformancecollective.org

Review: The Bridge (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Aug 29 – Sep 13, 2025
Playwrights: Sunny Grace, Clare Hennessy, Richie Black
Director: Lucinda Gleeson
Cast: Zoe Carides, Clare Hennessy, Saro Lepejian, Andrea Magpulong, Brendan Miles. Matt Abotomey
Images by Ravyna Jassani

Theatre review
Amber was a fleeting rock sensation of the early ’90s, her career abruptly derailed by the ruthless grip of patriarchy. Decades later, when Alyssa goes viral on TikTok with a cover of one of Amber’s long-forgotten songs, the forgotten musician emerges—not to celebrate the revival, but to chastise the influencer, mirroring the very silencing forces that once destroyed her own career.

With The Bridge, writers Sunny Grace, Clare Hennessy and Richie Black set out with admirable intentions, crafting a work that seeks to highlight how women can unite across generations to resist the enduring forces of subjugation. The play’s ambition is clear, but its execution falters: the structure is clumsy, the nuance underdeveloped, and the characters too often collapse into flat archetypes rather than fully realised figures.

Lucinda Gleeson’s direction may lack elegance, but it is driven by a palpable passion that translates to the stage. The original music by Zoe Carides and Clare Hennessy stands out as a highlight, with the added delight of live performance from several cast members. Sound design by Rowan Yeomans and Elke reaches ambitiously, though it occasionally draws focus away from the action. Aron Murray’s lighting brings welcome dynamism, even if it is not always flattering to the performers, while Kate Beere’s costumes suffer from the same problem, her set design captures the intended mood.

As Amber, Zoe Carides delivers energy and focus, though the performance never fully convinces as that of a late-20th-century rebel hellraiser. Clare Hennessy is more persuasive as Alyssa, the ambitious newcomer, yet her portrayal of a contemporary media personality leans a touch too heavily on flippancy. The chemistry between the two requires greater development, and the progression of their relationship would benefit from being drawn with more care and less abruptness.

While it is unrealistic to expect women to always share affinity with one another, the pursuit of radical inclusivity and acceptance remains essential in resisting patriarchal and colonial systems. Such structures are sustained by division, repeatedly manufacturing wedges that isolate individuals and diminish their collective agency. Feminism, therefore, must be understood as a project of expansion—drawing in as many voices as possible in order to constitute a force capable of meaningful opposition.

www.kingsxtheatre.com | www.instagram.com/crisscross_productions

Review: The Talented Mr. Ripley (Sydney Theatre Company)

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Venue: Roslyn Packer Theatre (Sydney NSW), Aug 19 – Sep 28, 2025
Playwright: Joanna Murray-Smith (based on the novel by Patricia Highsmith)
Director: Sarah Goodes
Cast: Faisal Hamza, Raj Labade, Will McDonald, Andrew McFarlane, Johnny Nasser, Claude Scott-Mitchell 
Images by Prudence Upton

Theatre review
There are many possible reasons for Patricia Highsmith’s famous protagonist making the appalling decisions he does. Without overt explanations of Tom Ripley’s psychological constitution, we are left to observe his actions and to speculate on his motivations, often through notions of humanity that we can only presume to be universal. Joanna Murray-Smith’s adaptation comes 60 years after the novel’s publication, and although The Talented Mr. Ripley is thankfully rendered identifiably queer in this new stage version, we remain seduced by its enigmatic characters and their fundamentally dangerous story.

It is almost always a challenge to condense a work from book to play, but Murray-Smith does wonderfully to retain not only the essence, but also the delicious details of Highsmith’s original narrative. Direction by Sarah Goodes however feels rushed at several key moments, likely a consequence of wishing to keep running time within the conventional two hours. The show prevents itself from sprawling and luxuriating, in something that cannot disguise its tendencies toward indulgence.

Visual aspects too fall short of the extravagance and decadence one might anticipate from a narrative steeped in class and envy, but the crucial scene of Ripley’s first murder, is certainly some of the most beautiful theatre to appear in recent memory. Set design by Elizabeth Gadsby is modern and sparse. Emma White’s costumes subtly represent the distinctions of social stratum. Damien Cooper’s lighting brings dynamism, though it can appear somewhat unnecessarily restrained. Music and sound by Steve Francis is an unequivocal highlight, delivering huge doses of unabashed drama, to match Ripley’s intensifying delusions of grandeur.

Leading man Will McDonald is both compelling and convincing as the disturbed charlatan, brilliantly conveying the unspoken dimensions of Ripley’s inner world, which form the very heart of the production. Object of desire Dickie Greenleaf is performed with charismatic verve by a highly memorable Raj Labade, who strikes a delicate balance between likeable cad and despicable scoundrel. Also noteworthy is Faisal Hamza as Freddie Miles, wonderfully mischievous in his portrayals of nauseating privilege and wanton youth.

There is little reason to admire Ripley, yet despite his heinous crimes, we never for a moment want him to be caught. Every subsequent kill, though met with our derision, remains an irresistible pleasure in the purely artistic sense. That we can find ways to enjoy learning about Ripley’s atrocities, only means that there are parts of our psyche that can somehow appreciate his debauched descent. Though we strive to uphold honour in our personal choices, the sheer talent of those who commit barbarities proves always to exert a relentless, undeniable fascination.

www.sydneytheatre.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: Once On This Island (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Aug 2 – 31, 2025
Book & Lyrics: Lynn Ahrens
Music: Stephen Flaherty
Director: Brittanie Shipway
Cast: Zahrah Andrews, Sara Camara, Paul Leandre Escorrido, Googoorewon Knox, Sione Mafi Latu, Sebastian Nelson, Chaya Ocampo, Paula Parore, Thalia Osegueda Santos, Cypriana Singh, Alexander Tye, Rebecca Verrier
Images by David Hooley

Theatre review
Based on the novella “My Love, My Love” by Rosa Guy, which was in turn inspired by Hans Christian Andersen’s “The Little Mermaid”, the 1990 musical Once on This Island tells the story of Ti Moune, a dark-skinned peasant girl who falls for the pale, upper-class Daniel after rescuing him from the wreckage of a car accident. While the narrative may be simplistic and geared toward a younger demographic, the show’s infectious songwriting by Lynn Ahrens and Stephen Flaherty, resonates across generations.

Brittanie Shipway’s direction embraces the innocence of the piece, and together with Leah Howard’s choreographic talents, delivers an entertaining production that also makes an important statement about social justice. Also enjoyable is music direction by Dylan Pollard, which makes full use of the score’s Caribbean influences to ensure an uplifting experience.

Nick Fry’s set and props effectively transport us to a fabled corner of the French Antilles, while Rita Naidu’s costumes add a delightful touch of fantasy. Veronique Benett’s lighting design contributes to this sense of magic, even if the overall staging occasionally lacks visual exuberance.

Performer Thalia Osecueda Santos is captivating and utterly endearing as Ti Moune, bringing unshakable focus and irrepressible enthusiasm that make her considerable technical abilities all the more admirable. Also memorable is Zahrah Andrews, who sings the role of Mama Euralie with soulful intricacy, complemented by Sione Mafi Latu’s impressive timbre as Tonton Julian.

Things take a dark turn when Ti Moune learns about betrayal. The effects of systemic racism on colonised lands make themselves undeniable, when they come crashing down on our young heroine’s hopes and dreams. Many of us too have been shaken out of that stupor, coming to understand the ubiquitous and insidious nature of those violations. Daniel may not believe he intends to harm Ti Moune, but it is precisely that kind of ignorance that perpetuates the deeply entrenched injustices shaping how we live. He may think he has done nothing wrong — but he has just as clearly done nothing right.

www.hayestheatre.com.au | www.curveballcreative.com

Review: Grief Is The Thing With Feathers (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Jul 26 – Aug 29, 2025
Playwrights: Simon Phillips, Nick Schlieper, Toby Schmitz (from the novel by Max Porter)
Director: Simon Phillips
Cast: Philip Lynch, Fraser Morrison, Toby Schmitz
Images by Brett Boardman

Theatre review
Recently widowed, a scholar finds himself utterly lost, adrift in grief. As a specialist in the work of Ted Hughes, it is perhaps inevitable that a crow—the most iconic figure in Hughes’ oeuvre—should appear, inserting itself into his life as companion and surrogate. Based on the novel by Max Porter, Grief Is the Thing with Feathers captures with striking authenticity both the frustrating stasis and the slow, almost imperceptible progress that inevitably accompanies bereavement.

Adapted for the stage by Simon Phillips, Nick Schlieper, and Toby Schmitz, this transposition pulses with an aggressive rhythm and a tonal grandeur that echoes both the literary references and the visceral experience of sorrow and despair. There is a regrettable emotional distance in its delivery, yet the sheer theatrical ambition of this reimagining of Porter’s novel remains undeniably impressive.

Phillips’ direction is boldly imaginative, capturing the poetic chaos of the widower’s interactions with the crow in a production that is truly dazzling for the senses. Video design by Craig Wilkinson, along with illustrations by Jon Weber, form a highly evocative element of the staging, especially useful in bringing to life its supernatural dimensions. Schlieper’s lighting is endlessly creative and exquisitely beautiful, masterfully evoking a universe of shifting realms. Sound by Daniel Hertern and music by Freya Schack-Arnott add immeasurable power, in their dynamic auditory renderings of this surrealist presentation. 

The widower is played by Schmitz who proves himself a commanding leading man, and a detailed artist who encourages us to regard the work with curiosity and discernment. As his young sons, Philip Lynch and Fraser Morrison deliver wonderfully spirited performances, injecting a vital effervescence into a production that might otherwise risk becoming overly sombre.

Grief is rarely a constant emotional state, but it can leave a lasting imprint, reshaping a person’s disposition into something permanently shadowed. While there are steps one might take to prevent such a descent, the most enduring strategy is often to weather the storm, trusting that its force will eventually subside. It can be a sad thought that those we have lost might one day be forgotten, but there comes a time when their memory must be gently placed in the recesses of the mind, to make room for living.

www.belvoir.com.au | www.andrewhenrypresents.com

Review: Babyteeth (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Jul 18 – Aug 2, 2025
Playwright: Rita Kalnejais
Director: Kim Hardwick
Cast: Jane Angharad, Philip D’Ambrosio, Esha Jessy, Jeda Osorio, Campbell Parsons, James Smithers, Rachel Thomas
Images by Phil Erbacher

Theatre review
Milla is only 14 and dying of a terminal illness when she meets Moses, a 23-year-old drifter. As their sexual relationship unfolds, her parents, grappling with the imminence of her death, choose to tolerate the dubious romance in the hope it brings her some joy. Babyteeth by Rita Kalnejais may be criticised for courting controversy without adequate justification, but setting aside its arguably precarious moral stance, the play remains an intriguing work.

Kim Hardwick’s direction is marked by a lightness of touch that lends the production a certain grace, though at times this subtlety borders on vagueness, leaving the production’s intentions feeling somewhat unclear. Lights by Topaz Marlay-Cole and sound by Michael Huxley, are both subtle in execution, occasionally striking but generally unobtrusive in how they support the storytelling.

Actor Rachel Thomas is convincing as a teenager, with a vulnerability that makes Milla an endearing personality. Campbell Parsons brings extraordinary naturalism to the role of Moses, coupled with a confident pacing that truly mesmerises. Milla’s parents are played by Jane Angharad and James Smithers, with unassailable commitment. Philip D’Ambrosio and Esha Jessy offer wonderful comedic dimensions that provide much needed uplift to the experience, as does Jeda Osorio who proves a delightful presence.

It is rare to be given an opportunity to examine someone like Moses. Our instinct is to see him vilified and punished, but Babyteeth leaves that act of castigation to the viewers themselves. This of course is a dangerous choice, one that opens the door for the depraved to impose repugnant interpretations, even going so far as to advocate for behaviour that ought to be regarded as unequivocally heinous. Milla dies in Babyteeth, but we can only imagine what Moses moves on to, after the curtain falls.

www.kingsxtheatre.com | www.whiteboxtheatre.com.au

Review: Emerald City (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), Jul 18 – Aug 23, 2025
Playwright: David Williamson
Director: Mark Kilmurry
Cast: Aisha Aidara, Danielle Carter, Rachel Gordon, Matt Minto, Tom O’Sullivan, Rajan Velu
Images by Phil Erbacher

Theatre review
Reaganomics and Thatcherism were in full force when David Williamson’s Emerald City first emerged—a play in which a screenwriter grapples with his artistic integrity in a world determined to commodify everything. Almost four decades on, the conflict between art and commerce remains and has become so subsumed into our daily realities that watching an artist navigate those old quagmires now seems strangely quaint.

Direction by Mark Kilmurry is thankfully taut and energetic, with leading man Tom O’Sullivan bringing commitment and valuable charisma to the not-always-likable role of Colin. His wife Kate is made a powerful figure by Rachel Gordon’s confidence and panache. Matt Minto is appropriately dubious as the opportunistic Mike, while Aisha Aidara’s portrayal of his partner Helen surprises with warmth and a compelling naturalism.

Production design by Dan Potra depicts the era with some accuracy, but can appear somewhat simplistic in approach. Lights by Morgan Moroney improve the viewing experience by effecting subtle shifts as the production transforms in tone and temperament. Music by Madeleine Picard add a dimension of ephemerality to the way we feel about this straightforward story.

The city of Sydney serves as a fitting backdrop for this reflection on commercialism and its entanglement with human life. Money, undeniably, shapes much of who we are here—as it does in any city—and while we recognise that ‘the love of money is the root of all evil,’ it is equally true that our relative affluence underpins many of the pleasures we associate with life in this frankly magnificent place.

www.ensemble.com.au