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Review: Phar Lap (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Oct 17 – Nov 22, 2025
Book, Music & Lyrics: Steven Kramer
Directors: Sheridan Harbridge
Cast: Shay Debney, Lincoln Elliott, Joel Granger, Manon Gunderson-Briggs, Amy Hack, Nat Jobe, Joey Phyland, Justin Smith
Images by John McRae

Theatre review
Nearly a century ago, a horse captured the heart of a nation. In Steven Kramer’s new musical Phar Lap, that legend is reborn, charting the champion’s astonishing rise through Australia’s racecourses and reminding us how deeply his story remains etched in the national imagination. Kramer’s songwriting brims with wit and invention, while Jack Earle’s arrangements fuse modern electronic textures with the jaunty swing of the early twentieth century — a lively, irresistible blend that keeps the production buoyant and engaging throughout.

A parade of vivid characters fills the stage, each one smartly and playfully rendered by an ensemble whose energy lifts the entire production. Their exuberance is infectious, their confidence magnetic; whatever they offer, we accept with delight. At the centre gallops Joel Granger, whose Phar Lap radiates innocence and charm, a creature both wondrous and pure. Beside him, Justin Smith’s Harry Telford brings a steady, compassionate presence, their partnership blooming with the kind of trust that makes the impossible seem tenderly real.

Under Sheridan Harbridge’s direction, Phar Lap becomes a riot of camp and gleeful absurdity — a kaleidoscope of humour that wins us over from the very first beat. Her vision is bold and unrepentantly idiosyncratic, inviting us into a world where whimsy reigns and logic gladly takes a back seat. Ellen Simpson’s choreography adds its own spark, conjuring memorable images of horses dancing, feuding, and prancing through fantasy. It is all unabashedly silly, yet every bit of it lands with allure and precision, resulting in theatre that is as joyous as it is ridiculous.

Hailley Hunt’s set design creates an evocative backdrop that conjures the spirit of a bygone era while leaving generous room for the cast’s exaggerated physicality. Mason Browne’s costumes root us in the period, yet it is their quiet audacity, the flickers of flamboyance woven almost mischievously through the fabric, that bring the stage to life. Trent Suidgeest’s lighting underscores that sense of spectacle, bold and effervescent, adding a touch of decadence to the show’s already radiant charm.

There are forces that bind a people, though they are seldom of our intentional making; they happen, as wonder does, when hearts align by chance. Art, though, is the one miracle we can will into being — the act that turns isolation into communion. Each story told, whether strange or familiar, becomes a thread in that fragile web of understanding. And in these fractured times, art remains the heartbeat that reminds us we have no alternative but to belong to one another.

www.hayestheatre.com.au

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

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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: The Producers (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Mar 29 – Apr 27, 2025 | Riverside Theatres (Parramatta NSW) May 15 – 18, 2025
Music & Lyrics: Mel Brooks
Book: Mel Brooks, Thomas Meehan
Director: Julia Robertson
Cast: Anton Berezin, Des Flanagan, Alexandra Cashmere, Blake Erickson, Jordan Shea, Mikey Sakinofsky, Wendy-Lee Purdy, Spencer Cliff, Clancy Enchelmaier, Genevieve Goldman, Joshua Gordon, Ashton Lash, Joe Meldrum, Paloma Renouf
Images by Grant Leslie

Theatre review
Broadway producers Bialystock and Bloom try to stage a flop, when they discover an accounting loophole that would deliver an easy profit. They choose a show that celebrates Hitler, certain that it would be shut down right away, but like at the recent American elections, the unthinkable happens when Nazism wins the day. It may not have been Mel Brooks’ conscious intention, but a revival of The Producer reveals the truth about the USA, and its long-held secret desire to introduce a fascist state.

It is however not an obviously politicised staging, that director Julia Robertson delivers for 2025, who thankfully retains the original essence and remarkable wit of The Producer. Her show is relentlessly exuberant, always clever with how it reinvents each memorable scene of this legendary work. Choreographer Shannon Burns impresses with her rigour and ambition, ensuring that the experience is delightful at every turn.

Set design by Nick Fry is wonderfully imaginative, and endlessly versatile with the imagery it is able to render. Costumes by Benedict Janeczo-Taylor are intricately assembled, effective with all the colour it adds to the production. Lights by Ryan McDonald are quite the resplendent feature, offering unexpected spatial dimensions, and a marvellous sense of theatrical elevation with its dynamic flamboyance.

Music direction by Osibi Akerejola is rich and spirited, even if the band is occasionally short on polish. Performer Anton Berezin is perfect as Bialystock, very likeable as the cheeky rogue, and admirable for the precision he brings to the part. Less charismatic, but equally detailed is Des Flanagan who plays the role of Bloom, the earnest protégé.

Alexandra Cashmere is vivaciously comical as Ulla, demonstrating great creativity along with impressive skill, transforming the classic bimbo into someone truly fascinating. The hilarious Blake Erickson is unforgettable as Broadway director Roger De Bris, thoroughly amusing with his camp antics and exquisite timing. Neo-Nazi writer Franz Liebkind is played by Jordan Shea with wild abandon, joyfully absurd in his portrayal of a man who has completely lost his marbles.

In 1967, at the time of the original film of The Producers, it had felt as though the decision had been made concrete, that Nazis had well and truly lost the war, and that the world would invest its all in the grand experiment of democracy. Decades later, we find the USA at an inconceivable juncture today, of fascism rearing its ugly head, in the most resolute ways. The judicial system in The Producers proves effective in quashing nefarious activity; however it remains to be seen, if centuries of well-meaning legislation can withstand sinister attacks, from this new face of despotism.

www.hayestheatre.com.au | www.riversideparramatta.com.au

Review: The Pirates Of Penzance (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Feb 14 – Mar 16, 2025 | Merrigong Theatre Company (Illawarra Performing Arts Centre) March 26 – 29, 2025
Music: Arthur Sullivan
Libretto: W.S. Gilbert
Director: Richard Carroll
Cast: Trevor Jones, Jay Laga’aia, Brittanie Shipway, Maxwell Simon, Billie Palin
Images by John McCrae

Theatre review
The Pirates of Penzance debuted at the end of 1879 in New York City, telling the love story of apprentice pirate Frederic and Mabel, a daughter of the Major-General. Characteristically absurd, this Gilbert & Sullivan comic opera has been adapted for a contemporary audience by Richard Carroll, who retains the fun and frivolity of the original, with the incorporation of refreshed dialogue and updated references. The first act is a delightful romp, thoroughly and riotously funny from the very start, but Act Two sadly pales in comparison. Unable to sustain the hilarity, the show deflates even as the cast tries its mightiest to hold our attention. 

Five excellent performers take the helm, with an effervescent Maxwell Simon offering earnest naivety as Frederic, in this amusingly wholesome take on a band of “tender-hearted” pirates. Brittanie Shipway is highly impressive with her vocals proving as strong as her comic timing, in the dual roles of Mabel and maid-of-all-work Ruth. Peerless charisma from Jay Laga’aia makes compelling his portrayals of the Pirate King and the Sergeant of Police. Trevor Jones delivers an unforgettable rendition of the legendary “Major-General’s Song”, and Billie Palin is admirably fastidious with all the supporting parts she dutifully takes on.

Set design by Nick Fry is polished and attractive, with efficient use of space allowing for energy to pervade the entire stage. Lights are a wonderful feature, created by Jasmine Rizk to deliver sumptuous colour and dimension, for imagery that seems to be constantly evolving. Also noteworthy is choreography by Shannon Burns, providing endless physical configurations for further visual delight. The Pirates of Penzance is indeed often enchanting, and a welcome diversion for those who have ever longed to escape to the high seas.

www.hayestheatre.com.au | www.thearthousewyong.com.au

Review: Ghost Quartet (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Jan 8 – Feb 1, 2025
Music, Lyrics and Text: Dave Malloy
Director: Brandon Pape
Cast: Cameron Bajraktarevic-Hayward, David Butler, Hany Lee, Willow Sizer
Images by Angel WL

Theatre review
Dave Malloy seems to concede that Ghost Quartet is more a concept album than a work of theatre, with each song being preceded by the announcement of its “track number”. A highly fractured narrative makes it nigh on impossible to closely follow the story, but the eclectic music is undeniably enjoyable.

Direction by Brandon Pape delivers an occasionally haunting experience, but the show is mostly memorable for the warmth with which it showcases the cast of four. Cameron Bajraktarevic-Hayward, David Butler, Hany Lee and Willow Sizer bring exceptional musicianship to the performance, and along with brilliant sound engineering by Em-Jay Dwyer, we discover in Ghost Quartet to be a real treat for the ears. Sumptuous lighting design by Sidney Younger elevates the presentation so that it feels more than a concert, but it is doubtful if the work is truly satisfying for audiences with expectations of a conventional musical.

There are certainly more than a few manoeuvres that can be considered experimental in Ghost Quartet, and that artistic spirit is an admirable quality to encounter at any production. Whenever we talk about ghosts, it is hard to deny that it is ultimately the living that is always the real concern. It is an exercise in examining what has been left behind, just as we pay tribute to every work of art that attempts to push boundaries, and that propels us into new spaces. However much we may or may not enjoy it at the time it occurs, it is the artist’s imagination that offers suggestions for new ways of being, providing inspiration for us to move towards somewhere better than yesterday. 

www.hayestheatre.com.au | www.antipodestheatre.com

Review: Irving Berlin’s Holiday Inn (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Nov 22 – Dec 22, 2024
Music and Lyrics: Irving Berlin
Book: Gordon Greenberg, Chad Hodge
Director: Sally Dashwood
Cast: Zohra Bednarz, Emma Feliciano, Paige Fallu, Matt Hourigan, Nigel Huckle, Niky Markovic, Chloë Marshall, Mary McCorry, Jamie Reisin, Jacob Steen
Images by Robert Catto

Theatre review
All Jim wants is an idyllic life of marriage in rural Connecticut, but when Lila discovers that the farmhouse is not quite to her taste, Jim quickly finds a new love interest in Linda. Based on a film from 1942, it is perhaps not a surprise to find in Holiday Inn, that women are but interchangeable and disposable. The book by Gordon Greenberg and Chad Hodge for this 2014 musical version, preserves what some might term an old-fashioned charm, but for others it is probably only the interpolated songs from the Irving Berlin oeuvre that holds any appeal.

Direction by Sally Dashwood is correspondingly nostalgic in style, with an approach that is perhaps overly sterile and conservative. Zealous choreography by Veronica Beattie George is highly animated, but a restrictive set design by Bell Rose Saltearn hinders the cast from performing freely. Lights by Véronique Benett introduce dynamism to the staging, but it is the extensive wardrobe by costumier Brendan de la Hay that provides some visual splendour.

Music direction by Abi McCunn is faithful to the relevant era, ensuring that Berlin’s hits remain enchanting. Leading the cast are Nigel Huckle and Mary McCorry who both impress with their singing abilities as Jim and Linda, although chemistry is nowhere to be found on this occasion. More captivating is Jacob Steen who plays Jim’s partner and friend Ted, demonstrating exceptional flair and a knack for harnessing dramatic authenticity, even for a story that is completely absurd. There is something about the Christmas season that feels ridiculous, but we participate anyway, understanding that so much of the joy comes from a willingness to indulge in a collective delusion, about this portion of the calendar holding so much more meaning, than the rest of the year.

www.hayestheatre.com.au

Review: Flat Earthers: The Musical (Griffin Theatre Co / Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Oct 11 – Nov 9, 2024
Book and Lyrics: Jean Tong, Lou Wall
Songwriting: Lou Wall, James Gales
Director: Declan Greene
Cast: Michelle Brasier, Lena Cruz, Manali Datar, Milo Hartill, Amanda McGregor, Manon Guderson-Briggs, Mel O’Brien, Shannen Alyce Quan, Zarif
Images by John McRae

Theatre review
The story begins when Ria and Flick meet online, and quickly fall in love. Being a conspiracy theorist however, means that Flick is making their unfolding romance very complicated indeed. Flat Earthers: The Musical by Jean Tong, Lou Wall and James Gales commences with a fascinating conceit involving the very contemporary phenomenon of information silos and alternative facts, but quickly devolves into a confusing quandary of fantastical excursions.

Director Declan Greene brings a sense of exuberance to an outlandish plot that goes completely frenzied and unruly, but the musical comedy never really connects in any meaningful way. A heavy reliance on video elements, as designed by Xanthe Dobbie and Daniel Herten, makes the experience feel excessively complicated, resulting in a sensory overload that prevents us from truly engaging with the ideas and the humour of the piece.

On a positive note, songs in Flat Earthers are consistently enjoyable. Produced by James Gales and with musical direction by Jude Perl, each number is wonderfully rhythmic and often unpredictable, with choreography by Fetu Taku enhancing the imaginative quality and the pop sensibility of these modern showtunes. Singing is generally of a strong standard, with Manali Datar and Shannen Alyce Quan bringing admirable precision to their portrayals of lesbian lovebirds. It is worth noting that the unapologetic depictions of sapphic desire in Flat Earthers address a much needed queering of an art form, that although beloved by queers, rarely centres our identities in stories that routinely deny our right to take focus.

Set design by Brockman creatively incorporates the production’s need for projection screens, although occasionally unwieldy for performers as they enter the stage. Costumes by Emma White are as appealing as they are amusing, able to represent characters with accuracy, whilst maintaining a comical approach. Lights by Brockman are astonishing in their richness and intensity, in a show that is never for a moment, restrained in any way.

In a world where people believe that politicians can inflict hurricanes on battleground states at election time, and where patently and unabashedly evil individuals become presidents by manipulating media consumption of the populace, the business of information propagation is a seriously dire situation.  All of our history demonstrates that humans will trust in all manner of bizarre propositions, many of which have led to death and destruction. Also true of our nature, is that we never stay the same, and this too shall pass.

www.hayestheatre.com.au | www.griffintheatre.com.au

Review: Little Women (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Jul 12 – Aug 11, 2024
Book: Allan Knee
Music: Jason Howland
Lyrics: Mindi Dickstein
Director: Amy Campbell
Cast: Cameron Bajraktarevic-Hayward, Maddy Betts, Molly Bugeja, Peter Carroll, Emily Cascarino, Lawrence Hawkins, Vitoria Hronopoulos, Tisha Kelemen,  Kaori Maeda-Judge, Shannen Alyce Quan, Kurt Russo, Tyran Stig
Images by Grant Leslie

Theatre review
Jo is an aspiring writer in 1868 Massachussets, facing challenges due to her gender and class. It is decades before women obtain the right to vote, so to have career ambitions, and indeed to imagine herself as anything more than a wife and mother, is quite remarkable. Family, however, remains central to Jo’s concerns, as we see in this musical adaptation of Louisa May Alcott much-loved novel, Little Women. Her mother and sisters form important threads in the narrative, of a young woman who has no qualms about deserving it all.

In a book by Allan Knee, we discover a slightly lacklustre plot assembled from a condensation of key events from Alcott’s story. Songs by Jason Howland and Mindi Dickstein are generic in style, although theatrically effective, and on occasion capable of being deeply moving. Direction by Amy Campbell excels at creating believable characters, and at making every scene engaging, for a show that many will find enjoyable. Visual aspects are less accomplished. Set design by Tanwee Shresta demonstrates admirable creativity, but struggles to evoke relevant time and place. Costumes by Lily Matelian too are imaginatively rendered, although not always flattering. Lights by Peter Rubie are mostly pragmatic in approach, only taking the opportunity to be conspicuous at the right moments.

In the lead role is the sensational Shannen Alyce Quan, powerful not only with their vocal abilities, but also with their depictions of Jo’s emotional dimensions, making a gregarious personality feel wonderfully vibrant and spirited, whilst remaining convincing as a woman from a bygone era. It is a strong cast that delivers Little Women, each performer dedicated and considered in their respective parts, and harmonious as an ensemble. The strong quality of singing is a highlight of the show, and along with music direction by Gianna Cheung, Little Women is a work of theatre that proves enjoyable, if not sufficiently poignant.

We love telling children, that they can be anything they wish when they grow up, but subliminal messages often convey something different. Girls especially, are indoctrinated all manner of restrictions that pertain especially to how we conceive of gender as a defining element in a person’s being. Not only do we continue to believe that men and women have different capacities, we insist on perpetuating the subjugation of one beneath the other. Even if Jo is able in her own mind to escape all that conditioning, there is only so much she can achieve, in 19th century USA where the sustenance of prevailing systems require that very imbalance of power. Jo would certainly have gone further in today’s improved circumstances, but disparities persist and many of her sisters will continue to not be able to shine.

www.hayestheatre.com.au | www.jrpaustralia.com