Tag Archives: sydney

Review: Three In The Bed (Birdie Productions)

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Venue: New Theatre (Newtown NSW), Jan 11 – 26, 2018
Book, Music & Lyrics: Jonathon Holmes
Director: Jonathon Holmes
Cast: Adin Milostnik, Daniella Mirels, Caroline Oayda, Alicia Rose Quinn, Aaron Robuck
Image by Douglas Frost

Theatre review
It is not the first time we come across a work of fiction, about three women falling crazy in love with one very unexceptional man. These stories never make any sense, of course, and because we are in this supposedly “woke” year of 2018, it is understandable if many were to find that tired narrative a particularly painful one to have to tolerate. Jonathon Holmes’ Three In The Bed is infuriating for the feminist viewer, and the number of us who will not accept that kind of unimaginative and inconsiderate writing, is increasing by the legions.

Its women are completely objectified, and none of the characters bear any sense of complexity or even attempt to be in any way remotely realistic. It is astonishing that songs about “why doesn’t he like me?” and “let me clean your room” are being unleashed on Australian audiences, in this day and age.
Sexually exploitative scenarios (the production’s unabashed selling point) are manufactured, just for laughs, but in the absence of verisimilitude, humour simply becomes impossible. When people do laugh, it is in response to the purposely uncomfortable sexuality being portrayed. The show tries repeatedly to tickle, but we can only cringe in response.

There is however, real talent in Holmes’ musical ability, and his hopeless passion for the Broadway genre is evident. The cast is undoubtedly skillful and their exuberance, quite miraculously, carries the show, with Caroline Oayda eminently memorable in the role of Emma, bringing exceptional flair and prowess to the stage. The performers work hard, and smart, but they are powerless in trying to redeem these deeply unfortunate depictions of womanhood.

www.threeinthebedmusical.com

Review: My Urrwai (Belvoir St Theatre / Performing Lines)

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Venue: Belvoir St Theatre (Surry Hills NSW), Jan 19 – Feb 4, 2018
Playwright: Ghenoa Gela
Director: Rachael Maza
Cast: Ghenoa Gela
Image by David Charles Collins

Theatre review
Ghenoa Gela is a Torres Strait Islander born in Rockhampton. Efforts to keep culture in her veins have always been deliberate and laborious; it is a constant battle for Indigenous Australians to resist colonisation and to retain their own identities. In My Urrwai, Gela shows us what it is like to be a woman of native heritage living in modern Australia, bringing particular focus to the unjust burden that black people have to bear, whilst existing on their own rightful lands, that white people had forcefully usurped.

Part of the tale involves a significant first visit to Gela’s extended family in the Torres Strait Islands, where she finds herself in moments of alienation, as well as extraordinary connection. My Urrwai is, among many things, a deep meditation about the need to belong, and with it, we examine the hugely important themes of displacement and repudiation as experienced by our First Nations peoples for 230 years and counting.

Formative and crucial fragments of Gela’s life are compiled intelligently, for an autobiography that feels impressively comprehensive in its scope. Even though My Urrwai does contain colourful idiosyncrasies, the earnest care with which it discusses issues of race is unmistakable, as it is probably inevitable that this one-woman show would be called upon to represent entire communities. The need for more productions featuring Torres Strait Islander voices, simply cannot be overstated.

As performer, Gela is an outstanding talent, combining years of training in stage disciplines, with an enviable presence, to produce the consummate storyteller. Her remarkably exacting and agile physicality, plus an uncanny ability to speak with great resonance, sonorous and philosophical, are the key ingredients in this wonderfully moving piece of theatre. Proving himself to be equally accomplished, is lighting designer Niklas Pajanti, whose work accurately prompts a wide range of emotional responses, from transcendent beauty to chilling terror. Director Rachael Maza’s sensitive manipulations of space, ensures that each scene is received crystal clear, whether in their inception, intent or purpose.

Unlike most plays we see on the Australian stage, My Urrwai is conscientious about acknowledging the multicultural aspect of our audiences. It understands that we do not all come from the same place, even if we do wish to identify as one. It is welcoming of all peoples, but it certainly does not subordinate those whose culture is on display. The ease with which it addresses Torres Strait Islander viewers, and its ability to establish a theatrical language that rejects white experience as the centre of all our orbits, is admirable. The process of decolonisation in how we do and think about art in Australia is a massively difficult one, but Ghenoa Gela and My Urrwai are jubilant rays of hope, undeniable in their brilliance.

www.performinglines.org.au | www.ilbijerri.com.au | www.belvoir.com.au

Review: Buried (The Old 505 Theatre)

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Venue: Old 505 Theatre (Newtown NSW), Jan 17 – 27, 2018
Playwright: Xavier Coy
Director: Johann Walraven
Cast: Amelia Campbell, Tara Clark, Xavier Coy, Nicholas Denton
Image by Liam O’Keefe

Theatre review
The Sandpiper is the shorter of two plays by Xavier Coy, featured in Buried. Involving a psychotherapy session where things go awry, the piece is perhaps too conventionally structured, and too brief, resulting in a predictable story that proves anti-climactic. Much more substantial, and persuasive, is Smokin’ Joe, the second Buried play, dealing with class and masculinity in a typically Australian context. Its dialogue is fresh and playful, and its stakes are high, with challenging ideas and curious turns of events that keep us engaged.

Director Johann Walraven, too, invests more deeply into Smokin’ Joe, with nuance and complexities fleshed out effectively, to express the often hidden conundrums of being a man in Australia. Actor Nicholas Denton is captivating as Finn, humorous and exacting in his portrayal of a nineteen year-old discovering himself and finding his place in this often cruel world. Playwright Coy takes on the role of Dylan with admirable conviction and focus, to create a character that is at once familiar, and tenaciously intriguing.

There are secrets in Buried; things that people hide from others, and things that exist in plain sight but that are waiting to be named. Through art, talented individuals can identify the illusory and the elusive that swirl around us in the ether, and give them shape or form, so that we can gain a better understanding of what it is that we do and experience, as beings who walk this earth. It is a high calling, and the consequences are sacred.

www.old505theatre.com | www.facebook.com/wheelscoproductions

Review: On The Border Of Things Part One (PACT)

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Venue: PACT Centre for Emerging Artists (Erskineville NSW), Jan 17 – 20, 2018
Creators: Cong Ai Nguyen, James Nguyen
Cast: James Nguyen
Image by Carla Zimbler

Theatre review
In part one of On The Border Of Things, James Nguyen talks about his travels in search of family and his discovery of personal histories. It all begins with the memory of his uncle Cong Ai Nguyen who had left home for a nomadic regional life, working in transient jobs at disparate locations for over twenty years. James’ need to reconnect sparks a three-year odyssey that takes him to country Australia and also to Vietnam, and we catch him as he drives into Sydney, probably momentarily, to talk about his findings.

Essentially a one-man show, with a storyteller proficient in visual arts who rejects the approach of a conventional acting piece, The Border Of Things has a startling immediacy rarely encountered. When our theatres are working well, we are able to come in touch with truths of the world, and here, the first-person narrative is taken to a new level of intimacy. Artifice is stripped away, for an account of adventures recalled not from rehearsals but from actual experience.

James Nguyen’s investigations into the Vietnamese diaspora and his exploration of our farmlands, creates a potent combination that all Australians should find relevant. Discussion points about the migrant experience, along with diverse notions of home as personal and universal conceptions, as well as the meaning of land in relation to commerce and colonisation, all find consolidation and resonance through the Nguyen family’s tales.

The presentation concludes with a short documentary film, as sensitive and tender as the monologue prior, with a quiet melancholia permeating its depiction of new bonds being formed, as uncle and nephew reunite on farms in country Victoria and South Australia. We get a sense that both are black sheep, each able to see himself in the other’s eyes. To know oneself, questions must be asked, and the answers come best, from those we identify with the most. Our protagonist has had to travel afar to reach someone close, but it is evident that the rewards are joyous, and profound.

www.pact.net.au

Review: Tonsils And Tweezers (Jackrabbit Theatre)

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Venue: Kings Cross Theatre (Kings Cross NSW), Jan 12 – 27, 2018
Playwright: Will O’Mahony
Director: Michael Abercromby
Cast: Travis Jeffery, James Sweeny, Megan Wilding, Hoa Xuande
Image by Clare Hawley

Theatre review
Will O’Mahony’s black comedy Tonsils And Tweezers centres itself on two young men, who share not only a very close relationship, but also the unyielding malaise of modern masculinity. We see them bond as outsiders in school, and witness how that relationship shapes the adults that they try to become.

The narrative might be fairly simple, but the plot is a deliberately beguiling one that ends up delivering more confusion than it intends. We sense an emotional crescendo being constructed thoughtfully as each scene progresses, but its inability to have us sufficiently identify with either Tonsils or Tweezers, takes us to a conclusion that never manages to be more than lukewarm.

The actors however, are full of conviction and reliably entertaining. Travis Jeffery and Hoa Xuande are the leads, both authentically present and impressive with the gravity they bring to the stage at crucial junctures of drama. Even more appealing, are supporting players James Sweeny and Megan Wilding, memorable with the scintillating humour they are able to introduce throughout the piece. None of these characters are particularly likeable, but it is a cast that we are glad to have spent time with.

Director Michael Abercromby takes us through the play’s many blunt atmospheric shifts with admirable elegance and efficiency. Lights by Liam O’Keefe and sound by James Yeremeyev have a tendency to work slightly too literally, but are highly effective with the way time, place and mood are calibrated for our subliminal comprehension. Patrick Howe does remarkable well as set designer, creating a space beautifully sleek in its minimalism, whilst portraying a cold brutality that is consistent with emotions relevant to the text.

In Tonsils And Tweezers, the Australian man’s problem with self-expression is, characteristically, looked at, but not looked into. The inability of our boys and men, to articulate and to understand their own feelings is, as the play points out vigorously, clearly detrimental, but how all this transpires, is all but neglected. We know the effects of toxic masculinity, but are yet to examine it in a way that can bring us satisfactory solutions. The dismantlement of old structures that we continue to live within, is necessary but strenuous. Some have begun work on that process, but more will have to come on board, if we wish to truly progress.

www.jackrabbittheatre.com

Review: There Will Be A Climax (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Jan 9 – Feb 3, 2018
Playwright: Alexander Berlage and The Company
Director: Alexander Berlage
Cast: Toby Blome, Oliver Crump, Duncan Ragg, Geneva Schofield, Alex Stylianou, Contessa Treffone
Image by Robert Catto

Theatre review
Six clowns in tuxedos are on a constantly revolving stage, wordless but full of shenanigans. We can be certain that Alexander Berlage’s There Will Be A Climax has a strong inner logic. It is abundantly clear that the ensemble knows exactly what they are doing at every moment. What it all means to the viewer however, is quite a different matter.

We can interpret the show to be a meditation on the process of attaining zen, but to approach the production with excessive intellectual interest would probably disappoint. The show is either very funny or curiously macabre, depending on one’s own constitution.

It is a visceral experience, extremely energetic, often impressive with its inventiveness, although with a tendency for monotony in its dogged pursuit for amusement. A more daring approach to lighting would deliver a less predictable outcome, but it is has to be noted that Nicholas Fry’s work on set and costume design is beautifully imagined and cleverly executed.

The cast is a wacky bunch, and very crowd-pleasing; some actors seem more interesting than others, but the team’s ability to share limelight is admirable. There is a lot of trust and generosity amongst the six that gives the show an extraordinary sense of balance and sturdy confidence.

Much of the enjoyment relies on the uncompromising precision being performed, and we feel our attention being manipulated with great rigour, by something incredibly well-rehearsed, but for all its boisterousness, too little of There Will Be A Climax is left to chance. Its artistry, although wonderfully exuberant, can feel too safe. At the theatre, wildness contained, is misplaced politeness. The crowd has been persuaded to listen, but more needs to be said.

www.redlineproductions.com.au

Review: My Name Is Jimi (Belvoir St Theatre / Queensland Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Jan 5 – 21, 2018
Playwrights: Jimi Bani, Jason Klarwein
Director: Jason Klarwein
Cast: Dmitri Ahwang-Bani, Agnes Bani, Conwell Bani, Jimi Bani, Petharie Bani, Richard Bani
Image by Daniel Boud

Theatre review
Jimi Bani hails from Mabuiag Island, in the near Western part of Torres Strait. His show My Name Is Jimi, is about culture and tradition, and the resolve to keep the uniqueness of his Wagadagam tribe alive and thriving in the modern age. True to form, the production features performers from his own family, across four generations, illustrating the essence and the importance of what is being relayed.

Small communities are always at risk of losing their identity. The young is seduced by external forces, through cultures of technology and consumption determined to establish a conformity, as required and dictated by Western capitalism. We see Jimi’s son Dimitri devouring the smartphone like any other youth, gradually losing touch with the real kinship that surrounds him.

Ambitiously directed by Jason Klarwein, the work is complex and detailed with its depictions. We learn not only what it is, that Jimi is keen to preserve, but also why and how these traditions have come to be of such value. Folklore and dance feature prominently, to inform and to entertain, but perhaps most importantly, as a demonstration of ancestral pride. There is exquisite humour in the piece, alongside its inherent warmth and poignancy.

Jimi Bani’s naturally commanding presence wins us over from the get-go, allowing us to empathise with his story effortlessly, even though his circumstances are admittedly far removed from many of our daily realities. Dimitri shares his father’s humour, delivering memorable moments of comedy. Agnes and Petharie are the senior women providing music, in ethereal, glamorous and dignified fashion. Conwell and Richard are Jimi’s brothers, appropriately sharing the weight of the show, as nimble sidekicks, particularly effective with their live camera work for filmic projections called upon to represent legends of the land. Especially noteworthy is Justin Harrison’s work as sound and projection designer, beautifully transcendent and crucial to the success of My Name Is Jimi.

Family can mean different things to people, but there is no denying the emotional hold it can have over each of us. Watching Jimi and his loved ones cultivate their extraordinary closeness, is reassuring, but also challenging to those who seek a radical independence in today’s climate of rationalism. It is now normal in many societies, to find definition for the self as an entity distinct from practices of the past, especially when one identifies weaknesses and problems associated with those customs. Jimi’s emphasis on language however, is noble and inspiring. Words contain so much, and they allow us to connect with histories when we choose to. Times will change, but forgetting the past, will only hamper any effort to progress. As we seek to become better, a link with earlier experiences is invaluable. Talking with those who had come before necessitates a bridge, and understanding cultures, especially one’s own, is often more rewarding than we can imagine.

www.queenslandtheatre.com.au | www.belvoir.com.au

Review: Fag/Stag (The Last Great Hunt / Griffin Theatre Company)

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Venue: SBW Stables Theatre (Kings Cross NSW), Jan 10 – 27, 2018
Playwrights: Jeffrey Jay Fowler, Chris Isaacs
Directors: Jeffrey Jay Fowler, Chris Isaacs
Cast: Jeffrey Jay Fowler, Chris Isaacs
Image by Robert Catto

Theatre review
Corgan and Jimmy are best friends who live the easy Australian middle-class existence. Fag/Stag sees them fumble and struggle through episodes of triviality, as young men with few legitimate worries, save for the difficulties of having to negotiate the perils of modern masculinity. Without the burden of work and children, nothing very serious ever happens to them, yet anxiety and pain are constants. Their concerns are often silly, but we nonetheless understand that first-world problems are real, for we recognise those symptoms to be genuine, and identify with what is being presented through the creators’ admirable honesty.

Jeffrey Jay Fowler and Chris Isaacs create an amusing hour examining the privileged lives of our young white men, straight and gay. Fag/Stag is a dynamic work, compelling and entertaining, even though its persistent earnestness seems somewhat misplaced. As writers, directors and performers of the piece, Fowler and Isaacs seem never to be critical of Corgan and Jimmy, but it is evident that much of the problems the boys encounter, are a result of their self-absorption. The characters do nothing for society, spending all their days inside their own little inconsequential dramas.

Fowler is more vibrant and animated an actor than his counterpart, tenacious with every nuance, eager for his audience to gain a deep understanding of his Jimmy. Straight guy Corgan is suitably restrained, played sensitively by Isaacs whose portrayal is memorable for its sense of familiar authenticity. The pair is tremendously endearing, and warmly comedic in their depiction of a very close friendship. We like them, and many will allow ourselves to be convinced of the hardships being proclaimed.

White men may be in positions of power, but it is questionable if things are necessarily easier for them. Sexism is detrimental to all genders. In many ways, we can see that Corgan and Jimmy have it easy, but all of that convenience adds up to an aimlessness, that causes meaning to be elusive. We watch them suffer, as a result of having nothing substantial to live for. They turn to each other, for comfort and support, and for affirmation that something of value and import, can ultimately be discovered.

www.thelastgreathunt.com

Review: Green Day’s American Idiot (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Jan 11 – 14, 2018
Music: Green Day
Lyrics: Billie Joe Armstrong
Book: Billie Joe Armstrong, Michael Mayer
Director: Craig Ilot
Cast: Kaylah Attard, Kyla Bartholemeusz, Erin Clare, Connor Crawford, Linden Furnell, Phil Jamieson, Alex Jeans, Nicholas Kyriacou, Vidya Makan, Phoenix Mendoza, Phoebe Panaretos, Christopher Scalzo, Maxwell Simon, Ashleigh Taylor, Kuki Tipoki
Image by Ken Leanfore

Theatre review
Comprising songs by American punk rock band Green Day, American Idiot is a musical, or a rock opera to be slightly more precise, that showcases the band’s unquestionably popular songwriting talents. Billie Joe Armstrong, Tré Cool and Mike Dirnt are Gen X’ers who have found an audience with their brash but commercial sound, and like many successful music artists today, exploring a jukebox musical with their pre-existing catalogue is now par for the course.

While it is somewhat refreshing to have the punk genre incorporated into this almost always contrived genre of show, a stronger book is required for American Idiot to speak to those who are less than fanatic about the band’s oeuvre. We see characters go through the semblance of a plot, but glean no detail from any of their stories. Cheesy choreography and unimaginative use of projections, cause the show to further alienate.

The adaptation of music is however, fairly effective, with dramatic arrangements helping to sustain interest. It is a committed cast of varying abilities, most memorable of whom is Linden Furnell in the central role of Johnny, exquisitely confident in his multidisciplinary approach to the production’s quite exacting requirements. His effortless blend of rock and broadway, along with a physical agility, provide us with a sense of impressive polish and professionalism. Much less comfortable on the musical stage is Phil Jamieson, who although exhibits good presence from his years as a rock musician, is visibly disoriented in this switch in performance style.

It is certainly one for the fans, but there is no reason for the bar not being raised higher. There is excellent energy and poignant intent in each of the songs being sung in American Idiot, and when presented appropriately, there is plentiful opportunity for a wider crowd to connect. The talent here is evident, but greater diligence is necessary for a show that could speak to more, with better clarity and at a more affecting depth.

www.americanidiotlive.com.au

Sydney Theatre Awards 2017: Nominations

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Nominations were announced today for the Sydney Theatre Awards for 2017, which will be presented at a gala ceremony on Monday 22 January 2018 at 6pm at the Everest Theatre, Seymour Centre.

Leading the list with a record 12 nominations is Muriel’s Wedding, produced by the Sydney Theatre Company and Global Creatures, followed by Sydney Theatre Company’s Cloud Nine and Only Heaven Knows from Luckiest Productions and Hayes Theatre Co, both on nine nominations. Calamity Jane, produced by One Eyed Man Productions in association with Neglected Musicals and Hayes Theatre Co, was awarded eight nominations, while both The Trouble With Harry from Siren Theatre Co and Seymour Centre, and Assassins from Hayes Theatre Co received seven nominations. Red Line Productions’ A View From The Bridge received six nominations.

Nominations in the 35 categories were spread across 51 productions which played on Sydney stages during 2017.

BEST MAINSTAGE PRODUCTION
Cloud Nine (Sydney Theatre Company)
Hir (Belvoir)
Mr Burns (Belvoir)
Shit (Sydney Festival)

BEST INDEPENDENT PRODUCTION
Dry Land (Outhouse Theatre Co and Mad March Hare)
The Ham Funeral (Siren Theatre Company)
The Trouble With Harry (Siren Theatre Co in association with Seymour Centre)
A View From the Bridge (Red Line Productions)

BEST DIRECTION OF A MAINSTAGE PRODUCTION
Anne-Louise Sarks (The Merchant of Venice)
Imara Savage (Mr Burns)
Anthea Williams (Hir)
Kip Williams (Cloud Nine)

BEST DIRECTION OF AN INDEPENDENT PRODUCTION
Claudia Barrie (Dry Land)
Kate Gaul (The Ham Funeral)
Kate Gaul (The Trouble With Harry)
Iain Sinclair (A View From the Bridge)

BEST FEMALE ACTOR IN A LEADING ROLE IN A MAINSTAGE PRODUCTION
Genevieve Lemon (Who’s Afraid of Virginia Woolf)
Heather Mitchell (Cloud Nine)
Kate Mulvany (Richard III)
Helen Thomson (Hir)
Ursula Yovich (Barbara and the Camp Dogs)

BEST MALE ACTOR IN A LEADING ROLE IN A MAINSTAGE PRODUCTION
John Bell (The Father)
Mitchell Butel (The Merchant of Venice)
Darren Gilshenan (Who’s Afraid of Virginia Woolf)
Pacharo Mzembe (Prize Fighter)
Steve Rodgers (Diving for Pearls)

BEST FEMALE ACTOR IN A LEADING ROLE IN AN INDEPENDENT PRODUCTION
Belinda Giblin (Doubt)
Jodie Le Vesconte (The Trouble With Harry)
Sarah Meacham (Dry Land)
Gabrielle Scawthorn (The Village Bike)

BEST MALE ACTOR IN A LEADING ROLE IN AN INDEPENDENT PRODUCTION
Tommy Bradson (Nosferatutu)
Ivan Donato (A View From the Bridge)
Tobias Manderson-Galvin (Puntila/Matti)
John O’Hare (The Night Alive)

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A MAINSTAGE PRODUCTION
Kate Box (Cloud Nine)
Elaine Crombie (Barbara and the Camp Dogs)
Anita Hegh (The Father)
Claire Lovering (Who’s Afraid of Virginia Woolf)

BEST MALE ACTOR IN A SUPPORTING ROLE IN A MAINSTAGE PRODUCTION
Harry Greenwood (Cloud Nine)
Brandon McClelland (Who’s Afraid of Virginia Woolf)
Josh McConville (Cloud Nine)
Michael Whalley (Hir)

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN AN INDEPENDENT PRODUCTION
Antoinette Barboutis (Puntila/Matti)
Charmaine Bingwa (Doubt)
Zoe Terakes (A View From the Bridge)
Janine Watson (A View From the Bridge)

BEST MALE ACTOR IN A SUPPORTING ROLE IN AN INDEPENDENT PRODUCTION
Justin Stewart Cotta (This Much Is True)
Andrew Lindqvist (Bengal Tiger at the Baghdad Zoo)
Lex Marinos (Sunset Strip)
Johnny Nasser (The Ham Funeral)

BEST STAGE DESIGN OF A MAINSTAGE PRODUCTION
Dale Ferguson (Away)
Michael Hankin (Hir)
Marg Horwell (Shit)
Jonathan Oxlade (Mr Burns)

BEST STAGE DESIGN OF AN INDEPENDENT PRODUCTION
Alicia Clements (Assassins)
Isabel Hudson (Dry Land)
Alice Morgan (The Trouble With Harry)
Lauren Peters (Calamity Jane)

BEST COSTUME DESIGN OF A MAINSTAGE PRODUCTION
Elizabeth Gadsby (Cloud Nine)
Michael Hankin (Hir)
Jonathon Oxlade (Mr Burns)
Gabriela Tylesova (Muriel’s Wedding)

BEST COSTUME DESIGN OF AN INDEPENDENT PRODUCTION
Alicia Clements (Assassins)
Alice Morgan (The Trouble With Harry)
Lauren Peters (Calamity Jane)
Emma Vine (Only Heaven Knows)

BEST LIGHTING DESIGN OF A MAINSTAGE PRODUCTION
Paul Jackson (Away)
Chris Petridis (Mr Burns)
Nick Schlieper (Chimerica)
Emma Valente (The Testament of Mary)

BEST LIGHTING DESIGN OF AN INDEPENDENT PRODUCTION
Alexander Berlage (Doubt)
Alexander Berlage (4:48 Psychosis)
Matt Cox (The Trouble With Harry)
Hartley TA Kemp (The Ham Funeral)

BEST SOUND DESIGN OF A MAINSTAGE PRODUCTION
Nate Edmondson (Cloud Nine)
J. David Franzke (Away)
Max Lyandvert (The Testament of Mary)
The Sweats (Chimerica)

BEST SOUND DESIGN OF AN INDEPENDENT PRODUCTION
Nate Edmondson (The Ham Funeral)
Nate Edmondson (Jatinga)
Nate Edmondson (The Trouble With Harry)
Benjamin Freeman (4:48 Psychosis)

BEST ORIGINAL SCORE OF A MAINSTAGE PRODUCTION
Chris Williams (Cloud Nine)
The Sweats (Chimerica)
Alana Valentine, Ursula Yovich and Adm Ventura (Barbara and the Camp Dogs)
Kate Miller-Heidke and Keir Nuttall (Muriel’s Wedding)

BEST NEW AUSTRALIAN WORK
Barbara and the Camp Dogs (Ursula Yovich and Alana Valentine)
Black is the New White (Nakkiah Lui)
Muriel’s Wedding (PJ Hogan, Kate Miller-Heidke and Keir Nuttall)
Shit (Patricia Cornelius)

BEST NEWCOMER
Maggie McKenna (Muriel’s Wedding)
Michelle Ny (Dry Land)
Kurt Pimblett (Hir)
Zoe Terakes (A View From the Bridge)
Ebony Vagulans (Diving for Pearls)

BEST PRODUCTION OF A MAINSTREAM MUSICAL
Beautiful (Michael Cassel, Paul Blake, Sony/ATV Music Publishing and Mike Bosner)
Kinky Boots (Michael Cassel by arrangement with Daryl Roth and Hal Luftig)
Ladies in Black (Queensland Theatre, Sydney Festival and Sydney Lyric)
Muriel’s Wedding (Sydney Theatre Company and Global Creatures)

BEST PRODUCTION OF AN INDEPENDENT MUSICAL
Assassins (Hayes Theatre Co)
Calamity Jane (One Eyed Man Productions in association with Neglected Musicals and Hayes Theatre Co)
Only Heaven Knows (Luckiest Productions in association with Hayes Theatre Co)

BEST DIRECTION OF A MUSICAL
Dean Bryant (Assassins)
Richard Carroll (Calamity Jane)
Simon Phillips (Muriel’s Wedding)
Shaun Rennie (Only Heaven Knows)

JUDITH JOHNSON AWARD FOR BEST PERFORMANCE BY A FEMALE ACTOR IN A LEADING ROLE IN A MUSICAL
Annie Aitken (Melba)
Virginia Gay (Calamity Jane)
Esther Hannaford (Beautiful)
Maggie McKenna (Muriel’s Wedding)

JUDITH JOHNSON AWARD FOR BEST PERFORMANCE BY A MALE ACTOR IN A LEADING ROLE IN A MUSICAL
David Campbell (Assassins)
Tim Draxl (Only Heaven Knows)
Toby Francis (Kinky Boots)
Ben Hall (Only Heaven Knows)

BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL
Blazey Best (Only Heaven Knows)
Justine Clarke (Muriel’s Wedding)
Madeleine Jones (Muriel’s Wedding)
Christie Whelan Browne (Muriel’s Wedding)

BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL
Matthew Backer (Only Heaven Knows)
Rob Johnson (Calamity Jane)
Joe Kosky (High Fidelity)
Hayden Tee (Only Heaven Knows)

BEST CHOREOGRAPHY IN A MUSICAL
Andrew Hallsworth (Assassins)
Andrew Hallsworth (Muriel’s Wedding)
Cameron Mitchell (Big Fish)
Cameron Mitchell (Calamity Jane)

BEST MUSICAL DIRECTION OF A MUSICAL
Daniel Edmonds (Only Heaven Knows)
Isaac Hayward (Muriel’s Wedding)
Nigel Ubrihien (Calamity Jane)
Andrew Worboys (Assassins)

BEST CABARET PRODUCTION
Betty Grumble’s Love and Anger
Blue, the Songs of Joni Mitchell
Hot Brown Honey
Mother’s Ruin: A Cabaret About Gin

BEST PRODUCTION FOR CHILDREN
Diary of a Wombat (Monkey Baa)
Junk (Flying Fruit Fly Circus)
Kaleidoscope (Company 2 and Sydney Festival)
You and Me and the Space Between (Terrapin Puppet Theatre and Sydney Festival)

BEST PRODUCTION FOR YOUNG PEOPLE
Dignity of Risk (atyp/Shopfront Arts)
Moth (atyp)
Oedipus Doesn’t Live Here Anymore (atyp)
When The Streets Had a Name (Monkey Baa)

LIFETIME ACHIEVEMENT AWARD
To be announced at the Awards ceremony