Venue: New Theatre (Newtown NSW), Nov 11 – Dec 13, 2025
Playwright: Noël Coward 
Director: Louise Fischer
Cast: Lib Campbell, Peter Eyers, Liz Grindley, Molly Haddon, Oliver Harcourt-Ham, Michela Noonan, Reuben Solomon, Larissa Turton, Luke Visentin, Emily Weare
Images by Chris Lundie

Theatre review
It is England, circa 1940, and stage star Garry seems to spend his days deflecting admirers and his nights dazzling audiences. Noël Coward’s Present Laughter unfolds in this bubble of delightful frivolity, offering exactly the kind of airy escapism wartime audiences must have craved. Its antics may feel less coherent to contemporary sensibilities, but Coward’s charm endures — a style at once nostalgic and unmistakably evergreen.

Directed by Louise Fischer, the production cultivates an appealing old-world ambience, though it struggles to maintain momentum over its three-hour span. The comedic cadence frequently slackens, revealing an unevenness that the staging cannot fully disguise. Conversely design elements prove more assured. Tom Bannerman’s set makes good use of space while providing a measure of opulence befitting the celebrity milieu on display. Costumes by Helen Kohlhagen and Deborah Mulhall are likewise evocative of the era, offering a gentle wash of glamour providing a welcome sense of visual elevation.

Venue: New Theatre (Newtown NSW), Jul 8 – Aug 2, 2025
Playwright: Taylor Mac
Director: Patrick Howard
Cast: Lola Kate Carlton, Rowan Greaves, Jodine Muir, Luke Visentin
Images by Chris Lundie

Theatre review
Paige has had enough of the patriarchy. Since her abusive husband’s stroke and her teenage child’s gender transition, Paige has educated herself with progressive literature, and is now a new woman. When her firstborn returns from being dishonourably discharged by the Marines, Paige finds herself dealing with someone unwilling to adapt to her rigidly radical beliefs, and the family unit completely disintegrates.

Taylor Mac’s 2014 comedy Hir remains a wild and potent fantasy of feminist resistance. 11 years on, the play’s message still feels consequential and pointed, with direction by Patrick Howard demonstrating genuine affiliation with the spirit of the writing, making the production a captivating one.

The chaos and destruction that Paige experiences is made manifest through a thoughtful set design by Victor Kalka. Xan Hardman’s costumes bring vibrancy to the staging, along with a macabre humour that accentuates the provocative qualities of Hir.

The indignation at the core of Paige’s story may not always emerge with sufficient ferocity, but actor Jodine Muir is commendable for bringing polish to an often verbose text. While the cast could delve more intricately into the politics and interpersonal dynamics of the work, their commitment and energy are undeniable.

After a lifetime of subjugation, Paige has become immovably staunch with her reclaimed integrity. She no longer bends for anything or anyone, because she has learned that all her capitulations have been in vain. A woman used to sacrifice, she now refuses to yield any ground. Misery may come again, yet now it is not hers alone, and she holds the reins.

www.newtheatre.org.au

Venue: New Theatre (Newtown NSW), Oct 8 – Nov 2, 2024
Playwright: Samuel Adamson
Director: Darrin Redgate
Cast: Alison Brooker, Henry Lopez Lopez, Will Manton, Imogen Trevillion, Julia Vosnakis, Pete Walters
Images by Bob Seary

Theatre review
In Samuel Adamson’s Wife, we see the classic play A Doll’s House by Henrik Ibsen being staged repeatedly in England over decades, as several generations wrestle with the concept of emancipation in their own lives. Not only do women continue to grapple with their liberation in Adamson’s musings on Ibsen’s influence, it is queer people’s more recent advancements that are central to its concerns.

The writing is imaginative and pointedly witty, often thought-provoking in meaningful ways. Insufficient rigour in the production means that much of the nuance can be missed, but direction by Darrin Redgate does ensure dramatic escalation, and crucial moments prove gripping, in this two-and-a-half hour presentation.

Set design by David Marshall-Martin conveys whimsy for a comedy that is often quirky in tone. Costumes by Aibhlinn and Burley Stokes are effective at delivering colour, while Jay Murrin’s lights provide some polish, for a story that spans 83 years. Matthew Forbes’ sounds are appropriately minimal in approach, satisfactory in particular during scene transitions.

Each member of cast plays multiple roles, to mixed results. Alison Brooker, Henry Lopez Lopez and Julia Vosnakis bring conviction and energy. Will Manton and Pete Walters have strong moments as Ivar, one of the key characters, to help Wife feel relevant for a contemporary Australian audience. Imogen Trevillion is believable as Clare, pivotal at tying up all the loose ends, so that the sprawling tale may resonate with some poignancy when it really matters.

When Nora leaves her family at the conclusion of A Doll’s House, it is uncertain if she goes in search of equality, or of something else entirely different. Marginalised people know that much of life requires a system of hierarchy and therefore subjugation, yet we are rarely able to formulate new ways that allow for all to be free, choosing instead to take the place of former oppressors, and make other people bear the brunt.

www.newtheatre.org.au

Venue: New Theatre (Newtown NSW), Mar 19 – Apr 13, 2024
Playwright: Lally Katz
Director: Tiffany Wong
Cast: Callum Alexander, Georgia Britt, Tamara Foglia Castañeda, Lisa Kelly, James Lau, Alyona Popova, Dallas Reedman, Renae Valastro, Luke Visentin
Images by Chris Lundie

Theatre review
Heartbroken from being dumped by a boyfriend, Lally goes back to her childhood haunts in the USA, where she finds that others too are in search of more innocent times. Lally Katz’s Atlantis is about a woman’s struggle to come to grips with reality, using the eponymous ancient fictional island as allegory for the beliefs inculcated in her, that may not be realistic, or indeed at all real. The play explores the anxieties of a person who is unable to live up to all that she has been led to believe defines a fulfilling life; without a husband, children and a thriving career, Lally is at a complete loss. Heteronormativity has once again proven to be disillusioning.

It is a spirited piece of writing, albeit convoluted and excessively intricate, in its memoir style documentations of encounters, in an increasingly fantastical odyssey. Excellent work by Tiffany Wong as director finds for each scene, a brilliant humour full of charming whimsy and creativity, keeping us firmly enthralled in Lally’s misadventures. We may not invest emotionally in her woes, but the show is thoroughly entertaining, featuring a strong cast of endearing and mischievous performers, fully committed to the quirky comedy of their presentation. Leading lady Georgia Britt’s ebullience insists on our attentiveness, and her confidence ensures that we feel secure in the uninhibited storytelling.

Set design by Amelia Lane brings vibrancy, along with versatility to the imagery being produced. Sam Hernandez’s costumes are plentiful and highly attractive, demonstrating a great eye for texture and colour. Lights by Topaz Marlay-Cole bring appropriate tonal enhancements, to imbue for the staging a sense of cohesion, alongside the efforts of the ensemble. Sound effects by Jennifer Gao and Justin Leong are assembled well, but the first act requires more music for stronger calibrations of atmosphere.

Lally keeps trying for the things she wants, without ever considering the true degree of their meaningfulness, or indeed the mutability of her desires. We are conditioned to believe that happiness and fulfilment are tethered to attainment of things external, where in fact it is what we undertake for the internal, that really matters. The two may not be conveniently sequestered from one another, but understanding the differential in importance, is crucial to how a person can thrive and survive, in a world that can often feel like a sinking and depleting existence.

www.newtheatre.org.au

Venue: New Theatre (Newtown NSW), Sep 20 – 30, 2023
Playwright: Van Badham
Director: Madeleine Withington
Cast: Matt Abotomey, Emelia Corlett, Sarah Greenwood, Kandice Joy, Gerry Mullaly
Images by Campbell Parsons

Theatre review
Ishtar has to take time out from her PhD in feminism, because she is completely broke, and misogynist podcaster Jake is offering huge amounts of money for her help in earning Danish librarian Anne’s affections. Van Badham’s 2019 play Banging Denmark has only increased in relevance, as incels and pickup artists continue to gain prominence in our consciousness, with their figureheads now becoming big-time celebrities, and with dominant cultural personalities legitimising their abhorrent values and beliefs.

Director Madeleine Withington finds in her production, the real heart of the matter, which relates to how we could solve a problem like bigotry. Before we reach that concluding epiphany however, Withington delivers a work determined to entertain, taking full advantage of the marvellous absurdity in Badham’s often outrageous comedy.

Leading lady Sarah Greenwood’s staggering intensity as Ishtar delivers for the show its electric propulsive charge. That energy renders for the role an extraordinary passion that is simultaneously theatrical, yet true to the strident archetype to which it refers. Matt Abotomey is similarly flamboyant in his humour, unabashed with the hyperbolic physicality he brings to Jake, in a show that is never short of verve.

Costumes by Ruby Jenkins offer accurate depictions of these comical characters, along with a set that offers sufficient versatility to help conjure the various scenic requirements of Banging Denmark. Lights by Luna Ng are colourful and dynamic, gallant in their efforts to introduce a sense of liveliness to the staging. Daniel Herten’s sound design too is stimulating, able to sustain interest with its quirky approach.

It seems a natural instinct to wish to alienate those we deem despicable, to disparage and humiliate those intent on languishing in their indignant dedication to prejudice. We know however, that cruelty does little to persuade anyone to reverse their course of action. There is a surprising kindness to Banging Denmark that can feel unsatisfying in our current climate of ravenous viciousness and inhumanity, but there is no denying the truth, that hate solves nothing, that social fracture is ultimately undesirable, except for the very few who profit from those divisions. There is a part of us that tends to relish in conflict and bloodletting, but the better parts of our humanity understand that delicious as they may feel, wars are never what we want.

www.newtheatre.org.au

Venue: New Theatre (Newtown NSW), Jun 6 – Jul 1, 2023
Playwright: Ben Weatherill
Director: Deborah Jones
Cast: Siobhan Lawless, Daniel Mackenzie, Audrey O’Connor, Joseph Tanti
Images by Bob Seary

Theatre review
When we first meet Kelly, she is 27 and never been kissed. Life with her mother Agnes is pleasant enough, both women humorous and partial to a day at the beach in Skegness, on the Lincolnshire Coast in England. When Neil enters the picture however, Agnes’ protective instincts kick into high gear, which is understandable for a caregiver of a daughter with Down syndrome; the idea of a neurotypical stranger dating Kelly, is a genuine cause for concern.

Ben Weatherill’s Jellyfish explores challenges faced by people with disabilities, especially in early adulthood, as they navigate matters of the heart and contemplate starting families. The comedy is delicately written, allowing us an opportunity to delve sensitively, into some serious subjects that are rarely broached in the mainstream.

Directed by Deborah Jones, the show is engrossing, with a generosity that proves touching in key moments. Set design by James Smithers evokes an English shoreline with whimsical charm, and costumes by Louise Fischer help us identify instinctively, the personality types we encounter. Lights and music by Michael Schell offer gentle support, to the meaningful story being told.

In the role of Kelly is Audrey O’Connor, who brings great panache, along with admirable focus, to have us invest heavily into an enlightening narrative of young womanhood. Siobhan Lawless delivers for Agnes a valuable spiritedness, effectively depicting the strength required of single parents everywhere. As Neil, Joseph Tanti is compelling, and a likeable presence who earns our trust. Also delightful is Daniel Mackenzie who performs with an enjoyable idiosyncrasy, the part of Dominic, a thoughtful young man with Asperger’s syndrome.

Jellyfish brings attention to those who are routinely under-represented, and in the process initiates discussions on autonomy. Where there is discrimination, there often is ignorance; a lack of understanding not only generates hate, it may even deprive individuals of rights. Our capacity to dehumanise one another seems to be a perennial trait, but art is a force that prevails, and with it, our hearts learn to be bigger.

www.newtheatre.org.au

Venue: New Theatre (Newtown NSW), Feb 7 – Mar 4, 2023
Playwright: Tom Wells
Director: Alice Livingstone
Cast: Isaac Broadbent, Nick Curnow, Emma Louise, Sam Martin, Jared Stephenson
Images by Bob Seary

Theatre review
Somewhere in the North of England, a tiny amateur league of five-a-side footballers compete, in teams comprised mainly of members from the local queer population. Tom Wells’ Jumpers for Goalposts is, more than anything else, about community. Its characters are not without their serious sides, but there is a distinct lack of gravity in the play, and although resolutely comedic, it is arguable if much of it is funny at all.

Director Alice Livingstone is fortunately adept at providing for her staging, ample doses of energy, for a production that feels consistently buoyant. Even though the laughs may not be plentiful, the show manages to hold our focus, for all of its two-hour duration. We may not really find ourselves ever caring too much about the five characters in Jumpers for Goalposts but the performers are certainly strong enough, with an unmistakeable earnestness that sustains us throughout the piece.

Emma Louise takes on the role of coach Viv, and like the indefatigable lesbian sporting leader, Louise’s determination to keep her players unified and spirited, forms the lynchpin of these proceedings. Her brother-in-law Joe is inhabited by Nick Curnow, who brings much needed emotional nuance, to a show that could easily be presented without any attempt at subtlety. Jared Stephenson’s exuberance and vigour as the bohemian Beardy, delivers oodles of charm, for a personality as amusing as he is amiable. Isaac Broadbent and Sam Martin tell a story of puppy love, as Danny and Luke respectively, with an admirable conviction that affords an air of dignity to their young lives.

Set design by Tom Bannerman is extraordinarily well constructed, and highly believable as a well-worn changing room, if slightly constricting with the space being demarcated for physical action. The warmth of Mehran Mortezaei’s lights are effective at helping persuade and remind us, of the humanity on display. Bella Rose Saltearn’s costumes are rigorously considered, finished with a level of detail that never fails to impress.

For many queer people, sport represents a realm of persecution and terror. It is for many of us, one of the earliest indications of not really belonging. The many exclusionary constructs pertaining to things like acceptable identities and permissible behaviour, rear their ugly heads most emphatically, in these traditionally patriarchal arenas. We can proceed then, to radically reject these pervasive dominions, through forms of counter-culture that we can assert as being equally valid, or we can attempt to reclaim conventional spaces, trying to convert denial into acceptance. There are many ways for progression to take place, and we do not have to make everything the same.

www.newtheatre.org.au