Tag Archives: the grand electric

Review: The Unreal Housewives Of The Gold Coast (The Grand Electric)

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Venue: The Grand Electric (Surry Hills NSW), Aug 26 – 30, 2025
Writer: Trent Owers
Music & Lyrics: Matthew Predny
Director: Tess Hill
Cast: Michael Boyle, Tracie Filmer, Elise Greig, Bebe Gunn, Nick Hardcastle, Naomi Leader, Rhea Robertson, James Vidigal
Images by

Theatre review
The phenomenon of the Real Housewives television franchise began 19 years ago, and continues to thrive stronger than ever. Trent Owers’ musical lampoon The Unreal Housewives of the Gold Coast situates us at the reunion taping of a wholly imagined Australian chapter of the iconic reality empire. The concept is strong, particularly for the legions of fans of the ever-more ubiquitous brand, but weak writing undermines the comedy, leaving it short of its promise.

While direction by Tess Hill is appropriately vivacious, the humour proves strained and ungainly, and the faltering production values compound the show’s shortcomings. Performer Rhea Robertson is a saving grace, imbuing the part of Skye Headbrow with subtlety and a finely calibrated sense of timing that speaks to her confidence. Tracie Filmer leaves a strong impression with her singing in the role of Dianee White, momentarily elevating the staging through her accomplished musicianship.

Often dismissed as a guilty pleasure, the Real Housewives programmes remain virtually unique in foregrounding the lives of middle-aged women on their own terms, rather than tethering their identities exclusively to husbands and offspring. While it is regrettable that the characters are consistently framed by rivalry and strife, we are nonetheless afforded glimpses of them as powerful, self-possessed, and masters of their own fates.

www.instagram.com/theunrealhousewivesgc

Review: Titanique (The Grand Electric)

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Venue: The Grand Electric (Surry Hills NSW), 12 Sep 2024 – 22 Jun 2025
Book: Tye Blue, Marla Mindelle, Constantine Rousouli
Director: Tye Blue
Cast: Abu, Stephen Anderson, Abigail Dixon, Georgina Hopson, Jo-Anne Jackson, Matt Lee, Jenni Little, Marney McQueen, Trent Owers, Keane Sheppard-Fletcher, Drew Weston
Images by Daniel Boud

Theatre review
If we are to revisit the story of the Titanic, we may as well have Celine Dion provide her account of events, given how she has inadvertently become so closely associated with the disaster—or, more accurately, with the Hollywood movie about it. This absurd idea is brought to glorious life in the jukebox musical Titanique, a work of unparalleled campy hilarity so completely infused with creative chaos and unbridled frivolity, that it is impossible to dislike.

The incorporation of Dion’s hits may feel somewhat arbitrary at times, but writing by Tye Blue, Marla Mindelle and Constantine Rousouli is so thoroughly uninhibited and joyful, that nothing gets in the way of the good time that Titanique is determined to deliver. Also, Blue’s direction of the production is correspondingly unrestrained, leaving no stone unturned in this unabashed embrace of qualities as personified by its central diva; characteristics that are perhaps too flamboyant, too ridiculous, too mad, and too gay.

Leading lady Marney McQueen is a sensation as the iconic Quebecer, with impeccable mimicry proving a marvel to witness, and impossibly precise comic timing, that has us amused from the very second of her appearance. Casting for the production is quite the achievement, with each performer showcasing exceptional talent, along with their ability to adhere to the same idiosyncratic tone and tenor of this “kooky crazy” show, and for navigating the most challenging stage design imaginable, consisting entirely of stairs.

Characters from the film are brought to the stage with cheeky irreverence. Jack is played by Drew Weston whose knack for physical comedy is as endearing as his natural charm. Georgina Hopson’s astonishing vocal abilities as Rose are sheer pleasure. Stephen Anderson’s outrageous extravagance in the role of Ruth is consistently funniest of the duration, and certainly unforgettable. Also outstanding is Keane Sheppard-Fletcher, who impresses as the strongest all-rounder, singing and lampooning the part of Cal to the greatest effect.

The humour of Titanique feels very particular and granular, but because its source material is one of the widest appeal, the show becomes consequently much more universally approachable than its aesthetic might suggest. If low art and high art do indeed exist, Titanique is perhaps one of the most successful fusion of both, involving subject matters that are almost painful in their mundanity, but elevated with a niche sensibility, one that is most often associated with marginalised communities. When outsiders are left with nothing to lose, being outrageous seems a natural proposition, even if it upsets the hegemony unfailingly. 

www.titaniquemusical.com.au