Tag Archives: play

Review: I & You (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), May 6 – 18, 2025
Playwright: Lauren Gunderson
Director: Claudia Barrie
Cast: Josh Hammond, Alyssa Peters
Images by Phil Erbacher

Theatre review
Caroline is confined to her home due to a chronic illness. When Anthony drops by from school to work on an assignment, they become fast friends, bonding over the artistic legacies of Walt Whitman, John Coltrane and Jerry Lee Lewis. In the play I & You by Lauren Gunderson, we not only observe the burgeoning relationship between two teens, but also meditate on the nature and meaning of death, in the presence of someone who has to grapple with mortality every day.

Gunderson’s writing is relentlessly optimistic, allowing director Claudia Barrie to place emphasis on comedic elements for an effervescent experience, that should prove particularly resonant for younger audiences. Performed by a highly endearing team of two, Josh Hammond and Alyssa Peters make their magical world sparkle with believability and tangibility. Their cohesiveness is a joy to witness, both actors keeping us completely at ease with the authenticity they so effortlessly bring to the stage.

Also noteworthy are lights by Saint Clair, that always feel considered in their approach, whether subtly modulating or dramatically embellishing. The set is designed by Saint Clair along with Masone Browne, to provide an elegant solution for specific requirements of the text. Emily Brayshaw’s costumes portray with accuracy, the style of regular teens who could reside either in Australia or America, whilst maintaining a flattering appearance for the cast.

There is real beauty in the fundamental truth of death, yet we try so hard to deny its existence.  The fact that time is limited, from the perspective of each individual perishable organism, should mean that moments big and small must be cherished, but all humans seem to do, is to imagine new ways to defy the inevitable. Life is already eternal, we only need to be appreciative of the infinite tiny encounters that materialise, from simply being here.

www.belvoir.com.au | www.madmarchtheatreco.com

Review: The Lover & The Dumb Waiter (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), May 2 – Jun 7, 2025
Playwright: Harold Pinter
Director: Mark Kilmurry
Cast: Nicole da Silva, Gareth Davies, Anthony Taufa
Images by Prudence Upton

Theatre review
The Lover and The Dumb Waiter are one-act plays by Harold Pinter, currently being presented as a double bill. Both bear the dramatist’s characteristic absurdism, not only in their theatrical style but also in terms of what they say about the human experience. The former delves into the concept of monogamy, and the latter explores the idea of a person’s occupation. Pinter’s knack for making the ordinary appear strange, as can be seen in this pair of works, is perhaps one of his greatest contributions to art.

Direction by Mark Kilmurry locates for Pinter’s bizarre inclinations, a space of realism that allows us to see ourselves in characters who behave in unpredictable ways. The production tends to be excessively subdued in tone, which unfortunately diminishes its entertainment value. It is however a handsome staging, with Simone Romaniuk demonstrating commendable ingenuity and taste, in set and costume designs that are as transportive as they are appealing.

Actor Gareth Davies takes on key roles in both stories with a glint in his eye, charming us with the quiet mischievousness he brings to his interpretations. Nicole da Silva and Anthony Taufa are strong presences who keep us engaged, but can be somewhat understated in approach where bolder choices would be more effective. 

Questioning the very state of normalcy, is one of the biggest responsibilities of any artist. Even in abnormal times, when kleptocracy is taking hold in full view of populaces in previously democratic parts of the world, we need to be reminded of the differences between what is human, and what is manmade.

www.ensemble.com.au

Review: Happy Days (Sydney Theatre Company)

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Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), May 5 – Jun 15, 2025
Playwright: Samuel Beckett
Director: Nick Schlieper, Pamela Rabe
Cast: Markus Hamilton, Pamela Rabe
Images by Brett Boardman

Theatre review
Winnie is submerged up to her waist, living in a state of constant suspension. The paralysis stems from circumstance, although it is never clear why or how Winnie finds herself thus. There appears nothing much to live for, yet she strives for optimism, in Samuel Beckett’s Happy Days, a work that could be considered allegorical for any number of things, although there is no mistaking its ruminations about the human condition.

Direction by Nick Schlieper and Pamela Rabe embraces wholeheartedly the central abstraction of the piece. Reluctant to make obvious gestures that would provide convenient indications about the meanings of Happy Days, the audience is left to its own devices. The experience is often confounding. The extent to which individuals can engage, or indeed feel alienated, likely depends on one’s own constitution and temperament. Even if it leaves us cold, there is no questioning the integrity of this interpretation of Beckett’s 1961 masterpiece.

Schlieper’s set and lighting design for the production, although minimalist in approach, convey a certain grandeur. There is a stillness being rendered that is key to the very essence of Happy Days, but we are always cognisant of a much wider context. Although the play seems a lot to be about Winnie’s isolation, Schlieper reminds us of the greater world that exists, beyond the confines of her monologue. Costumes by Mel Page talk of a faded glory, and Stefan Gregory’s restrained sound design becomes prominent in conclusion moments, to imbue a dramatic crescendo to the piece.

Rabe performs the part of Winnie with admirable gusto, impressive with the intricacy of her textual analysis. The laconic Willie is played by Markus Hamilton who brings a strong presence, to his depiction of a secondary character. The pair embody a mysterious world that is often impenetrable, but we never doubt the honesty they bring to their parts.

It is the stasis in Happy Days that should scare us. Death will surely come, and to deny it is foolish. To sit around waiting for the inevitable, is worse.

www.sydneytheatre.com.au

Review: IRL (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Apr 25 – May 10, 2025
Playwright: Lewis Trestin
Director: Eugene Lynch
Cast: Andrew Fraser, Bridget Haberecht, Dominic Lui, Leon Walshe
Images by Justin Cueno

Theatre review
Tumblr was still a thing, when teenage best friends Alexei and Taylor attended a pop culture convention in cosplay, asking big questions about identity and reality. IRL by Lewis Trestin explores that perennial search for truth, from the perspective of those born in the digital era. Immersed in facsimile representations of personalities through electronic devices, and absorbed in commercialised prescriptions of humanity, characters in IRL endure intense challenges as they try to find themselves, in Trestin’s reflective but thoroughly mischievous play.

Direction by Eugene Lynch is commensurately vibrant, with an infectious spiritedness that keeps us invested in its wildly-imagined coming-of-age narrative. Cassidy McDermott-Smith’s choreography is an unequivocal delight, for a highly animated show that never shies away from physical comedy. Set design by Lochie Odgers is somewhat subdued, but costumes by Lily Mateljan and lights by Topaz Marlay-Cole ensure that imagery is consistently colourful and vivacious. Sound by Daniel Herten too is an uplifting feature, making believable all the outlandish expressions of youthful angst.

The piece is performed brilliantly by an immensely dedicated cast. Andrew Fraser brings extravagance, relentless but deliberate with the campness he introduces to Alexei, a queer high schooler on the cusp of puppy love. Bridget Haberecht delivers with considerable power, speeches that address directly the political concerns of a new generation, whilst delivering some truly delicious theatricality with her embrace of Taylor’s surreal world. Leon Walshe is very likeable as Thaddeus, a role he plays with admirable precision and persuasive focus. Dominic Lui is a charming scene stealer, incredibly funny with his idiosyncratic and perfectly timed manoeuvres, in a variety of roles that he makes hilarious in surprising ways. 

It is easy to come to a conclusion that perhaps nothing is real, but in IRL we are once again reminded that for all the unpredictabilities, whims and fluctuations of existence, it is always connection that proves meaningful. We can spend all our lives in self-examination, but little compares to the instances of when people connect, when we discover in those moments of authentic resonance, that everything else falls readily into disintegration.

www.kingsxtheatre.com | www.theothertheatre.com.au

Review: Abigail Williams (Wharf 2 Theatre)

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Venue: Wharf 2 Sydney Theatre Company (Walsh Bay NSW), Apr 23 – 26, 2025
Playwright: Rebecca McNamee
Director: Rebecca McNamee
Cast: Ebony Tucker
Images by Robert Miniter

Theatre review
It is mainly young women who are the key accusers in Arthur Miller’s The Crucible, but we never seem to know them very well. In Abigail Williams by Rebecca McNamee, we are given an opportunity to speculate on what might have caused the eponymous ringleader to inflict such ruthless damage. The work is an exploration of the rage that results from misogyny, and how it manifests in unexpected ways.

McNamee’s writing is thoughtful and creative, but her direction of the work is strangely placid, even if there is an undeniable elegance that guides her storytelling. Costuming by Angelina Daniel is astutely fitted and assembled, along with a set design that is commensurately graceful. Chris Milburn’s lights deliver finesse, but lack the necessary energy to satisfactorily address the core themes of the play. More impressive is sound design by Keelan Ellis, memorable for its intricacy and rigour.

Performer Ebony Tucker brings strength and detail to her portrayal of the 17th century villain, highly persuasive in bringing a new perspective to the narrative. The production is perhaps overly reliant on Tucker’s efforts to provoke our emotional response, but she is unquestionably up to the task.

So much of how we believe the world to be, is shaped by archaic ways of seeing. We hold in high regard the words of so many who have come before, often unable to discern good from bad, inevitably inheriting toxic values, and accepting what they represent to be truthful or natural, even when they are perniciously self-defeating. Our old masters wrote things that harm us, but little is ever done to take them down.

www.herstoryfestival.com

Review: Snakeface (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), Apr 8 – 27, 2025
Playwright: Aliyah Knight
Director: Bernadette Fam
Cast: Aliyah Knight
Images by Abraham de Souza

Theatre review
Inspired by the legend of Medusa, Aliyah Knight’s Snakeface deals with themes of abuse and assault, through a modern feminist lens. The writing is unrelentingly poetic and sometimes obtuse, with an undeniable beauty to its language that leaves an impression. Within a theatrical context, work of this nature can feel disorienting, but the resolve of its vision and ambition helps sustain our attention.

Rigorous direction by Bernadette Fam creates distinct and imaginative segmentations at every step of the show’s progression, for a staging that fascinates our senses, even when we share in the discombobulation of its central figure. Bold choreography by Fetu Taku adds meaningfully to the visceral power of the solo piece, which Knight performs with admirable focus and confidence.

Set design by Keerthi Subramanyam is intricately considered, with the inclusion of a clay slab proving an evocative touch. Similarly entrancing are Wendy Yu’s video projections, that fuse seamlessly with the overall visual scheme.

Costuming by Wanyika Mshila bridges the gap with the past, whilst allowing us to perceive the character’s full sexual agency. Rachel Lee’s lights tell a sensual yet violent tale, and alongside stirring sound design by Marco Cher-Gibard, the production is an unequivocal sensorial delight.

www.belvoir.com.au | www.fruitboxtheatre.com.au

Review: These Youths Be Protesting (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Apr 4 -19, 2025
Playwright: Izabella Louk
Director: Izabella Louk
Cast: Hamish Alexander, Karrine Kanaan, Rachel Thomas, Mây Trần
Images by Karla Elbourne

Theatre review
An initiative originally intended as a simple recycling program at a high school, unexpectedly escalates into a social media controversy, involving mining corporations and political figures. The four teenagers in Izabella Louk’s These Youths Be Protesting have little in common, but circumstances demand that they partner up and fight, should they wish to have a say in their own future.

There is considerable wit in Louk’s writing, and coupled with an irrepressible effervescence derived from her own direction of the work, These Youths Be Protesting proves to be an engaging experience, as well as an inspiring call to action regarding our current state of environmental degradation.

Actors Karrine Kanaan and Mây Trần bring gravity to the piece, while Hamish Alexander and Rachel Thomas are remembered for their endearing humour. They play distinct characters, but achieve commendable cohesiveness. Energetic and committed, the cast keeps us attentive and convinced of the important, but uncontroversial, message of conservation activism.

Dramatic intensity is further enhanced by Marc Simonini’s thoughtful music compositions, while Caitlyn Cowan’s lights deliver a sense of visual theatricality, to this story of an unusual school week. Set design by Paris Bell does wonders with recycled cardboard, introducing valuable vibrancy with its bold colour palette.

No matter the epoch, it is in our nature to fight for survival. For many though, complacency can set in, along with weariness and disillusionment, but we can always rely on the fervour of youthful angst and indignation, to be new guiding lights at every step of our evolution.

www.kingsxtheatre.com | www.instagram.com/blinkinglight.theatre

Review: Annie (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), Mar 25 – Jun 21, 2025
Book: Thomas Meehan
Music: Charles Strouse
Lyrics: Martin Charnin
Director: Karen Johnson Mortimer
Cast: Dakota Chanel, Mackenzie Dunn, Keanu Gonzalez, Amanda Lea Lavergne, Greg Page, Debora Krizak, Anthony Warlow
Images by Daniel Boud

Theatre review
The unlikely story of an orphan meeting a billionaire, could probably never be written in today’s climate of sensitivity, around issues like child exploitation and abuse. Annie the musical is approaching 50 years old, and watching it now can indeed feel slightly uncomfortable. Much of it is delightful, especially as a showcase for young talent, but its core premise remains indubitably problematic and unsavoury.

Direction by Karen Johnson Mortimer aims to deliver a great deal of nostalgia, to satisfy our hunger for more wholesome times. Brilliant choreography by Mitchell Woodcock brings the energy, in the most crisp and stylish ways. The classic set and costumes continue to look lavish, and with the addition of video projections by Craig Wilkinson, a greater sense of kineticism is introduced to establish a more updated aesthetic to the production.

The highly demanding eponymous role is played by Dakota Chanel who demonstrates great discipline and precision, alongside showbiz stalwart Anthony Warlow who breezes through the part of Warbucks with confident ease. The relentlessly animated Debora Krizak transforms the despicable Miss Hannigan into a captivating figure, while Keanu Gonzalez who plays Hannigan’s brother Rooster absolutely astounds with his incredible skills in dance.

Very noteworthy, is the ensemble of girls who steal the show whenever given the opportunity. Chloe Delle-Vedove, Ellie Lang, Skylah McMah, Camille Nko’o, Zoe Reeves, Cailin Scully and Matilda Teiotu are together an unequivocal sensation as Annie’s intrepid friends.

It was never really explained how Annie and Warbucks ended up in the Oval Office at one point in the show, but seeing an unelected billionaire hobnobbing with the American President, is more than a little sobering in 2025. Roosevelt was able to help Annie uncover the truth about her biological parents, but it may seem that only chaos and disaster is emanating from the current collusion of wealth and power at the White House.

www.anniemusical.com.au

Review: Bloom (Sydney Theatre Company)

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Venue: Roslyn Packer Theatre (Sydney NSW), Mar 29 – May 11, 2025
Book and Lyrics: Tom Gleisner
Music: Katie Weston
Director: Dean Bryant
Cast: Evelyn Krape, Vidya Makan, Maria Mercedes, Eddie Muliaumaseali’i, John O’May, Christina O’Neill, Jackie Rees, Slone Sudiro, John Waters, Christie Whelan Browne
Images by Daniel Boud

Theatre review
One would hope that retirement homes are the most idyllic places in which the elderly can enjoy their twilight years, but Pine Grove is no such institution. In Tom Gleisner’s musical comedy Bloom, senior residents are treated with no respect, by a management that thinks only of the bottom line. The characters we encounter in Gleisner’s writing are thoughtfully assembled, but his plot unfolds predictably at every juncture, and a clichéd sense of humour guides the tone for the entire presentation.

Direction by Dean Bryant demonstrates little need for inventiveness, focussing efforts instead on creating a show that speaks with poignancy and tenderness. Its efficacy as a heart-warming tale is however debatable, with some viewers likely to respond favourably to its sentimentality, while others may be left unmoved by its hackneyed approach. The music of Bloom, written by Katie Weston and directed by Lucy Bermingham, is somewhat pleasant but the thorough conventionality of its style might prove uninspiring for some.

Set design by Dann Barber, along with costumes by Charlotte Lane, are appropriately and intentionally drab for a story about the failures of aged care systems. Lights by Sam Scott too, fulfil with unquestionable proficiency, the practical requirements of the simple narrative.

The ensemble is commendable for the gleam it brings to Bloom, with their confident singing and spirited delivery of old-school comedy, ensuring a consistent sense of professionalism. Performer Christie Whelan Browne is especially noteworthy for her flamboyant approach, in the hilarious role of Mrs MacIntyre the dastardly owner of Pine Grove. As staff member Ruby, Vidya Makan’s big voice is a treat and a memorable feature, in a production that has a tendency to feel more than a little tired.

www.sydneytheatre.com.au | www.mtc.com.au

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