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Abigail Wharf 2   Redfren Lane productions presents this remount of “Abigail Williams” written and directed by Rebecca McNamee.  First presented as a student production at NIDA and now part of a pair of works making up a season called HERStory.   So, obviously, this is an interrogation of the character of Abigail from Arthur Miller’s “The Crucible”.  A young woman taken into the Proctor household only to become John Proctors undoing - “I look for John Proctor that took me from my sleep and put knowledge in my heart. I never knew what pretence Salem was, I never knew the lying lessons I was taught by all these Christian women and their covenanted men!”   Sometimes considered the villain of the piece, “Abigail” attempts to reclaim a fictional character’s humanity, grace and dignity. Curiously this production comes to us at a time when we eagerly await the possibility of the Broadway sensation “John Proctor is the Villain”. A play that revisits Miller's classic through the lens of a group of modern-day high school students, prompting them to question the established narrative and examine the complexities of the characters and events within the play. While John Proctor is often portrayed as a heroic figure, this new play suggests a more nuanced and critical view of his actions and motivations, potentially challenging the audience to rethink their understanding of the character and the play.  “Abigail Williams” begins with some meta-theatrical quotations from Sparks and Cliffs notes about the character of Abigail. Unreliable critiques.  We are then plunged into a 50-minute story about how and why Abigail finds herself inside the Proctor household, become a proud and capable child’s nurse, and the impetus for the tragic events that unfold. Ebony Tucker is a gifted and luminous performer. McNamee as director sets the space well with resonant production design by Angelian Daniel and lighting design by Chris Milburn.  Composer and sound designer Keelan Ellis supports key moments – it’s not always subtle but we appreciate the point. The production is confident.  The atmosphere is eerie. Which brings me to the script.  “Abigail Williams” is an engaging fictional story about a fictional character, based on a real person about whom is known very little. This Abigail is not presented as the villain of its preface and her relationship with John Proctor emerges as consensual - if on the nose. He’s 35, she’s 17 the obvious power imbalance is a, sadly, common story. At one point the character of Abigail is dropped and the actor tells us about infamous Chris Dawson and Australian women who have sought justice for a man’s revolting behaviour. It’s not a particularly subtle moment and any good work will resonate with the zeitgeist – as indeed (source material) “The Crucible” continues to do. “Abigail Williams” is an interesting exercise in imagining a character before a play begins and indeed, the final image of this Abigail sitting and streaking blood on her face is chilling. A terrific opportunity to engage with emerging independent artists in a well-appointed theatre.  Let’s hope this heralds the opening of Wharf 2 to indie artists and our audiences.  It is sorely needed!   Review by Kate Gaul Image: Robert Miniter

Upu Sydney Opera House I t is an absolute privilege to encounter “Upu” at the Sydney Opera House Studio. “Upu” is the name of the show, and the name of a collective based in New Zealand who create Pacific centred works for both stage and screen. “Upu”, meaning ‘word’, in many different languages of the Pacific Islands, brings together the voices of those living among the islands of the Pacific Ocean, also known as Te moana Nui a Kiwa. To hear and experience a rich storytelling culture, concerns and performance tradition is a delight and eye-opening experience. Magic!   “Upu” is performed by a cast of Aotearoa’s finest Pacific talent, curated by award-winning poet Grace Iwashita-Taylor and led by powerhouse director Fasitua Amosa.   Maiava Nathaniel Lees :  “What keeps us here?” Ensemble:   “Islands and an ocean.” Maiava Nathaniel Lees:  “What makes us leave?” Ensemble:   “Islands and an ocean.” Maiava Nathaniel Lees:  “What holds us back?” Ensemble:   “Islands and an ocean.”    A striking start to the performance. To greet us, the company say hello in different Pacific languages:  “Talofa! Aloha! Kia Orana! Kia Ora!”  Letting us know that we are welcome to their world, but to tread with love and respect.  The show, “Upu” combines poetry as storytelling navigating the history, culture and post-colonial struggles of identity, geo-political challenges and perspectives of First Nations peoples.  Set on a series of floating dark blocks – resonant of the many island homes of these peoples – an ensemble of six performers holds us spellbound for the hour of the show which comprises 23 poems complimented by movement, projection and evocative lighting.   To give you an idea of the range of material – a particular favourite with audiences was “Spam’s Carbon Footprint” by Craig Santos Pere and performed by Shadon Meredith, explores the Americanisation of the islands. Invented by the army this canned meat product is popular in Guam.  Through humour, disturbing reality, and engaging performance we are asked to consider the impact of foreign interference.   The use of haze and backlight at one point resonates with the challenges of climate change and the rising water levels in the Pacific.  Specifically, the Marshall Islands.  Beautiful but chilling!  Captain Cook’s travails are humorously touched on as the troupe tells of alleged cannibalism.  Other works I noted were Sia Figiel’s “Songs of the Fat Brown Woman” and Brandy Nālani McDougall’s, “Natives Wante”’.  Darker territory is entered with “This is a photo of my Home”, by Tusiata Avia - a story about secrecy and domestic violence.  All works are powerfully delivered that the words and feeling stay with one long after the show has finished.   This is a nimble, sophisticated, skilled, cohesive work – perfect for touring and one that opens hearts and minds to our nearest neighbours across a wide ocean or culture, emotion and geography.  Recommended! Review by Kate Gaul Image: Daniel Boud

Glass Child Seymour Centre   “Glass Child” is a phenomenal multidisciplinary work that overwhelms and brings great joy.   “Glass Child” depicts the sibling relationship between Kayah Guenther, a young man with Down Syndrome, and his sister Maitreyah Guenther. Created and presented by The Farm – a brilliant collective of artists from QLD/NSW.  Theatre aficionados in Sydney will recall “Throttle”, “Cowboy”, “Food Chain” to name three stunning works from the past. How fortunate to have Seymour Centre program “Glass Child” to open their 2025 season.  A deeply moving work of great honesty setting a benchmark for this year’s theatrical offerings. Throughout their lives Maitreya has watched Kayah be left out, ridiculed or ignored. “Glass Child” questions how we behave when we find the difference we inevitably look for and asks us to examine why we search for difference when we share so much in common. It is poignantly personal and inclusive, incorporating complex themes of trust, communication, sense of self and our place in the world. Through dance, theatre and storytelling they highlight their connection and how their lives have been affected by other people’s perceptions. “Glass Child” confidently asks us to look, to acknowledge and to understand. Created by Kayah and Maitreyah Guenther, Kate Harman and Gavin Webber, the production melds spoken narration, archival video, dance, an evocative lighting design (Chloe Ogilvie) on a simple and resonant setting (Rozina Suliman) to describe and transform their lived experience. Without a spoiler, I loved the fort – such a simple but evocative idea referencing childhood, safety, hiding.  Both performers are charismatic. Kayah commanded the stage with his infectious energy, captivating the audience from the moment he appeared. Maitreyah plays with an alluring thoughtfulness to her stage presence. The piece was originally developed over several years and has evolved through a deeply collaborative process, ensuring that it is not about Kayah but with him, by him,  through  him. I experienced tears, laughter, deep thoughtfulness and admiration for the skill with which the story is told. There is anger and joy in this story. “Glass Child” is a gift. It reminds us that in small well-honed productions there lies great riches.  Turn up the sounds of “Scream” and go see it! Review by Kate Gaul Image credit: K.Holmes

Guys and Dolls Handa Opera on Sydney Harbour   “I am not putting the knock on dolls. It's just that they are something to have around only when they come in handy... like cough drops. Figuring weight or age, all dolls are the same.” So says Sky Masterson in “Guys and Dolls”, this year’s offering from Opera Australia for the annual on-the-water spectacular.   “Guys and Dolls” centres around the underground gambling business in NYC and a mission trying to save the sinners. Nathan Detroit (a suave Bobby Fox) runs the big craps game in town and is always looking for a place to hold it, while trying to hide it from Miss Adelaide (stunningly played by Angelica Thomson), Hot Box dancer and his fiancé of 14 years. To get the money to secure a location for the game, Nathan bets big-time gambler Sky Masterson (confidently played by Cody Simpson) that he cannot convince pious mission worker Sarah Brown (the gorgeous and beyond fabulous Annie Aiken) to go to Havana with him. Sky wins the bet, but it's not quite that simple. To win Sarah's heart, he bets against the guys' souls to get them to come to a meeting and save the mission. And everyone lives happily ever after.   In any list of most popular musicals, Frank Loesser's 1950 musical always features close to the top. Based on Damon Runyon's tales of Broadway, the book by Jo Swerling and Abe Burrows brings together several stories into what many have called the 'perfect' musical comedy. The combination of a tight yet light-hearted book with an unforgettable collection of songs makes for a musical that remains popular to multiple generations, and is one that has soaked into our psyche, thanks to school and amateur productions, the iconic film version starring Frank Sinatra, and the wide reach of the score which includes standards such as "Sit Down, You're Rocking the Boat", "If I Were a Bell", "Take Back Your Mink", and of course "Luck, Be a Lady Tonight". Music Director Guy Simpson delivers all with great style.   The work and this production have plenty to love – singing, dancing, the wise-guy dialogue and spectacle! It is of course ensconced in the backwards gender attitudes of its time.  The titular song, after all, is an exasperated observation of men going to great lengths to please their girlfriends and wives - it’s a warning of the dangers of being pussy whipped.  Nathan’s long-suffering girlfriend, Miss Adelaide, is plagued by psychosomatic colds because she remains unmarried; Sarah Brown admits she’s probably “repressed” and “a prude” before she falls for Sky. Sarah is given alcohol without consent and Adelaide strips as returning gifts exchanged for sex. Taking Sky Masterson’s line above – it's not a shocking outlier or an especially outrageous example of sexism for ’50s America, but it is insidious in its own way, and the dialogue suggests that single women end up maladjusted and shrill.   If I rejected all forms of media because they contained problematic elements, I would live in a very silent and still world. That’s the thing about the patriarchy—it’s so steeped into our mythos that it powerfully permeates all corners of our culture. So, in “Guys and Dolls the gender roles are dated.  More positively, but both women are strong-willed in their own ways. Adelaide wants marriage, and in the end, she gets it. She’s presented as maybe not being a genius, but she doesn’t let Nathan fool her. Sarah Brown isn’t so much tricked into anything as she is wooed as any person might be. She even wears her mission uniform to the wedding - she won’t be giving up her career for marriage.   We’ll never know why outgoing Artistic Director Jo Davies programmed “Guys and Dolls” now except that it's a crowd-pleaser that will sell lots of tickets. And if she did have a certain take or twist, again, we will never know.  Shaun Rennie takes the reigns as director and produces a pacy production with highlights that include phenomenal costume design by the evergreen designer Jennifer Irwin.  How wonderful it would be if she had twice the ensemble to dress and five times the budget! Brian Thomson’s set of the oversized New York cab is classic Thomson. The revelation of the Hot Box club from the boot of the car never really worked but I guess the pressures of a short rehearsal period means that its sometimes inevitable to roll with an initial idea.  The decision to place the orchestra above the action is astute and clever (rather than under the stage as in previous years). This provides a built-in scaffold to back the action.  I only wish I could have seen more of the orchestral work behind what is only a partial gauze for this production. Choreography by Kelly Abbey shines and is in full force for a wonderful finale as Jason Arrow (as Nicely-Nicely Johnson) offers his interpretation of "Sit Down, You're Rocking the Boat" – the absolute highlight of this production. Lighting designer Bruno Poet creates some significant moments and effects throughout – no mean feat given the challenges of on outdoor production.   If musicals are for you, you won’t want to miss this.  For my money, I hope we will see the return of something from the operatic repertoire in future seasons. Review by Kate Gaul

Weather Girl Summerhall US writer Brian Watkins’ play “Weather Girl “is set in a wildfire-ravaged central California. The story follows Stacey (Julia McDermott), a bright and bubbly weather presenter who is a hot mess; literally and metaphorically. She is barely holding it together. Working for a local news network she’s using her weather girl stint as a stepping stone to something greater if it ever comes.  Jerry, the new editor, insists that she make the endless hot days sound great to her viewers. As wildfires take hold of the landscape and grow ever more intense and deadly, he insists Stacey not tell the viewers to evacuate lest they be upset. People, families begin to die. Stacey basically hates everything that she does and is becoming unhinged. She is perpetually drinking Prosecco from an innocent looking plastic drink cup and is generally feeling overwhelmed and strung out from the moment she wakes at 4am. She dates a random Techbro whose name she never catches and ends up crashing his car, recklessly abandoning him at the scene. Then there is her mother - a homeless woman she has had little to do with – but is now drawn to after discovering they may have shared mystical powers. And can they save California? The mother daughter part of the story isn’t particularly well developed.  It serves to provide Stacey with the chance to look at what is behind the pretence and surface of her world.  Our world. It’s ugly. But it connects Stacey to a bigger truth and the plays dramatizes the importance of individuals and our collective society to tackle climate change as one. The play does rather underline this theme - and I guess it is a theme worth underlining - but it’s a turn off when you feel a playwright doesn’t trust you to “get it”. This is a handsome fringe production. The set and lighting design are beautiful creating a TV Studio as well as other locations: an array of microphones, dark sound panels, and portable lights. The actor playing Stacey is amplified via a body mic and there are the other microphones, also practical.  Some are at heights and Stacey reaches up to speak into some – making her slightly off kilter, reminding us that Stacey loves to perform, and that news is filtered – we hardly ever get the “facts”.  The production is pacy and often funny.  It is often strident.  But then again – urgent themes – as we are kept reminded! As a cautionary tale about our degrading climate, I wasn’t so keen on this play. This is a lively but slightly undercooked one-woman show, a silly but serious climate change allegory. It's heavy handed and if it wasnt for the terrific performance it would be dead as a doornail. But its wit and as a vehicle for the right actor it is a smart piece of work. (and Julia McDemott is terrific in it). “Weather Girl” is proving to be a festival darling and will no doubt have a much larger run elsewhere. An given the producing cred behind it - a Netflix release! Review by Kate Gaul

The Disappeared Summerhall   Down The Rabbit Hole theatre company creates work in Denmark with prominent and boundary-breaking international artists. The company is led by Artistic Director Jeremy M. Thomas-Bøgsted and focuses on creating strong visual expressions that explore and experiment with form and seek to create surprising and engaging experiences for the audience. “The Disappeared” is a burlesque cabaret that tells the true story of a queer Latinx voice robbed of their freedom and forced into exile during a government coup in South America. “The Disappeared” stars Nova Duh, a mega star in the clubs of London and Berlin. The performance celebrates the artistic voices that are different, those that are loud and ever-present in political protest and are a threat to political power. Voices that are quickly suppressed and disappeared by authoritarian states, but never forgotten.   Imagining we are in a small town in South America, queer cabaret performer Nova, accompanied by live music played and programmed by assistant Josh, we traverse everything from ballroom, dance, spoken word, song and story. Where Nova is from in South AMerica there is no recognition that queer people exist.  Bars open and then … disappear.   Although performed in the large Demonstration Room at Summer Hall, Nova creates an intimate atmosphere for audiences who stand to watch the show, moving around the space as it evolves. Rituals are performed.  Nova strips naked.  The audience joins in singing about a hard fuck. Nova speaks to the non-binary body. Nova tells us the enjoy erotic story telling. We become children in a school yard.  We join a protest banging on tin cans. We hear of the hardship of isolation during COVID. We discover that the only way to cure isolation is to party!   “When I’m on stage I mix burlesque with themes about machismo, transfeminism, gender violence and sexuality. I represent through my tales my vision and experience as a Latino queer. Basically, I undress against patriarchy and the injustice it has caused in our societies.” – Nova Duh   The performance is in 3 sections and starts with a tribute to Latin cabaret and queer burlesque and ends with the hate crimes Nova experienced in San Cristobal Mexico.  We travel through the history of Nova’s life - back to the beginning to find the roots of their passion for protest. And finally we relive, together with Nova, the night in Chile when the police broke into the nightclub and arrested everyone. Nova was threatened and forced them to flee for survival.   A ballroom style performance is given with appropriately flowing costumes, fans, the strut and attitude. The audience votes for the performance and Nova wins a gold cup. Nova holds the room with confidence and style.  But we never once forget the hardship and pain of living under oppressive regimes and if anything, the show is a plea for change – especially in these increasingly conservative times.   “The Disappeared” is an entirely unique event. It challenges our notions of theatre but not performance. Artistically eclectic, socially purposeful this is an electric event that transports and heals audiences across its 80 minutes. Review by Kate Gaul

One Single Action in an Ocean of Everything Ac Arts, Main Theatre Lucy Guerin choreographs this compelling piece and it is presented as part of the 2025 Adelaide Festival.  Two dancers, Amber McCartney and Geoffrey Watson perform over 50 minutes.  On a white set and dressed in vibrant colours they traverse a narrow path (lit by Paul Lim), in and out of sync, in conflict and in harmony, moving through fragmented terrain. In an attempt to interrupt the acceleration of our times and pause the relentless scrolling of their thoughts, they resort to a single desperate action. A fibre glass orb hangs in the space. The first 30 minutes is focussed towards an inevitable and delicious act.  The thumping sound track wracks our bodies and the work is hypnotic. What the orb is exactly is ambiguous – the earth, the moon, an idea? The actions can be read as repeatedly toppling the Earth’s stability, having failed to read the warning signs of megafires, thawing permafrost, and the death of coral reefs, driving us to the point of no return. This is explosive, athletic dance. Lucy Guerin has said “through the process of making the work this emphatic act revealed other concerns around extreme actions and their outcomes: destruction in the name of ideology, and what is left after that action takes place. I recognise doubt as a very important aspect of being human and an artist, but I was struggling to find that sweet spot between questions and conviction where we can move forward. So the work grew from a personal feeling of unease into a reflection on the state of the human condition and our desire to take action to create something better.” The second half of the piece is smooth and un-regimented. The hi vis costumes come off.  A man sweeps the mess, a woman rolls in it.  Renewal or further destruction? Intrigue heightens. In the story I am reading this could be the time for new connection between the two but in fact everything becomes more fragmented including the human relationship. Without a common goal the two drift apart. They become antagonists. The entire scenario takes on a dream like quality and the image of McCartney feeling her way along the white cyc that backs the performance space was very beautiful.  The piece takes a macabre turn – in a scene involving an animal mask – which further discombobulates anyone looking for a single narrative. Ambivalent.  Disturbing.  I am pleased to have seen it. Review by Kate Gaul

“Cox & Box and other Foolish Fancies” The Substation   What a delight to attend this sweet mini masterpiece of a work prepared so lovingly by a small team of Sydney’s operatic stars! “Cox & Box” is a short opera by Francis Cowley Burnand and Arthur Sullivan (yes, of Gilbert & Sullivan fame!) created over a three week period in 1866. It is still sometimes given as a curtain raiser for Savoy operas. It is based on John Maddison Morton’s 1847 farce of the same name.   Sergeant Bouncer, an old soldier, has a scheme to get double rent from a single room. Bouncer is written for a bass voice but in this spirited production is sung by sparkling mezzo Ruth Strutt.  By day he lets it to Mr. Box (a printer who is out all night) and by night to Mr. Cox (a hatter who works all day). Whenever either of them asks any awkward questions Bouncer sings about his days in the militia. Cox, baritone, is sung here by a suave Johnathan Alley and Box, tenor, is sung by a cheeky Adam Player.   Bouncer’s plan works well until Mr. Cox is, unexpectedly, given a day's holiday and the two lodgers meet. While Bouncer sorts out another room, Cox and Box discover they share more than the same bed. Cox is engaged to the widow Penelope Ann Wiggins - a fate that Box escaped by pretending to commit suicide.   They try gambling Penelope Ann away until news arrives that she has been lost at sea and has left her fortune to her 'intended'. They then both try to claim her for themselves. Another letter arrives - she has been found and will arrive any minute. Now they both try to disclaim her! However, she doesn't appear personally, instead leaving a letter to inform them that she intends to marry a Mr. Knox! Relieved, Cox and Box swear eternal friendship and discover, curiously enough, that they are long-lost brothers...   The intimate Substation on Taylor Square is a great location for the production.  It is a far cry from the pretensions of a glamorous theatre and signals that this is a night of fun, something out-of-the box.  Accompanied by the effervescent Donna Balson on a small electronic keyboard (possibly the hardest working person in the show!) the sound is great and we hear every word. The company has assembled the various bits and pieces to help tell the story – some hilarious props, some cute furnishings and a hat stand to hold things.  At the back of the small stage there are two fabric covered partitions to assist with entrances and exits as the stage has no wings. Visually these work in the aesthetic of the world created on-stage. Critically, sharper direction would have made better use of them and in a farce the comings and goings are paramount.  The occasional physical sloppiness betrayed an otherwise sparkling show.   “Foolish Fancies” - the remainder of the program - comprised mostly well known songs shared amongst the company.  Having shed their “period” costumes we were treated to the fine sounds of Stephen Sondheim, Noel Coward, Cole Porter to name three favourites among a panoply of classics. The evening becomes a concert of sorts shared by friends in the atmosphere of a Salon.     I hope we will get to see more of this kind of intelligent and entertaining work programmed in our alternate Sydney spaces. For those who love a musical evening out but don’t always want traditional cabaret or drag, an art music program is appealing, accessible and rewarding. There are a pile of small cast mini operas out there and let’s hope others are encouraged to produce them. So, big thank you to “Cox & Box and other Foolish Fancies” for breaking the mould and adding to the much needed diversity amongst our Sydney theatre offerings. Review by Kate Gaul

I Want it That Gay The Loading Dock It’s 1998… you’re sitting in front of the telly on Saturday morning watching Video Hits. The Spice Girls pop up on screen, you LOVE the Spice Girls! But soon you’re wondering – do I want to be Sporty Spice, or do I want to be with Sporty Spice?   Cara Whitehouse and Juliet Hindmarsh created a theatrical expose of growing up in the ‘90s, discovering and continuing to discover a queer identity.  It’s had outings at Red Rattler, Hayes Theatre, Theatreworks (Melbourne) and now comes to Sydney once more at The Loading Dock.  This time it is given a makeover by director Lily Hayman. “I Want it That Gay” is part confessional, part cabaret, part satire, a dash of therapy and huge dose of nostalgia as these two artists look back on the world from which they came. It’s sentimental, its clever, its musical.   Taking songs such as “Say my Name”, “The Rainbow Connection”, “I want it that Way” and changing the lyrics is how they tell their stories through song.  We explore first dates, relationship breakups, misgendering, use of pronouns, haircuts (a LOT about haircuts) through music and anecdote.  Cara Whitehouse plays keyboards, and Juliet Hindmarsh is a consummate guitar player.  The music is where it is at and if the show could be tightened to roll from one high point to another it would be a stunner.  There is a real energy drop between set pieces, and it can make the show feel much longer than it is.  Having said that, a trim to 50 minutes would make this an ideal inclusion in many formats – fringe and otherwise. Plus highlight the real wit and talent at the core of the writing and performances.   Using simple props and a touch of choreography all help bring the show to life as does the intelligent use of lighting design (Tyler Fitzpatrick) and a first-class sound design and musical direction (Aisling Bermingham).  This is a show made with love and honesty.  There is something for everyone – gay or straight (which is also why it is a winner!).  Interpolated throughout are three sketch comedy scenes between two Eastern Suburbs mums on their daily walk. Donning bright bobs, the two artists nail the voices and attitudes of these recognisable women.  The characters could belong in a spin-off of their own as they explore identity, gender and the language around a changing and inclusive society.  This is comic gold and points to a far richer show buried within this rather loose but entirely enjoyable hodge podge.   This isn’t the last we’ve seen of this show – so eyes out and get along next time it pops up. The inspired conversion of Sydney’s once notorious Darlinghurst Police Station into a thriving queer venue for exhibitions and performance is but a year old. Entrance to the theatre is still through the museum and provides a bonus event each time you buy a ticket to see a show at The Loading Dock. Get along and sample the array of work presented for Mardi Gras 2025.   Review by Kate Gaul

Candide Joan Sutherland Theatre Opera Australia’s eagerly awaited production of Victoria Opera’s “Candide” did not disappoint. “Candide” is an operetta by the great Leonard Bernstein, and based on Voltaire’s satirical 1759 novel “Candide, ou l’Optimisme” (“Candide, or all for the best”).In director Dean Bryant’s masterful hands there isn’t a dull moment as dialogue combines with music and song to drive the narrative. It is erratic, fantastical, and fast-moving. It parodies adventure and romance clichés and slaps you around the face with a sharp look at reality. It is all about optimism versus cynicism and how we can find happiness in a world full of fate and disaster. On his journeys, Candide is whacked around again and again by humankind’s unkindness and struggles to maintain his belief in Pangloss’s philosophy that the world is "the best of all possible worlds". Conductor Brett Weymark wields the baton on this one and what glorious music it is! The musical styles and choice of instruments throughout “Candide” change with each new location in which the travellers find themselves. Broadway, jazz, baroque, opera, tango and even influences of Bernstein’s classical hero Mahler can be heard throughout, cleverly depicting through music the different locations, cultures and events seen on stage. It is just so incredible to hear Bernstein’s music live.  For that alone it is worth buying a ticket. But there is more.  An incredible design by Dann Barber, lit beautifully by Matt Scott. Barber channels lavish 18th-century fashions in a riot of crinolines, frills and powdered wigs, but reveals society’s tawdry underbelly by a cunning use of grungy plastic garbage bags and contemporary footwear (think crocs and gum boots). A vintage caravan transports us from Paris to Buenos Aires and beyond, opening to form a tiny stage complete with painted backdrops. Superb!  The work is in English and amplified (without the need to see the surtitles on this one) I recommend getting a seat as close to the front of the stage to really enjoy the detail of the costuming, makeup, hair and scenic art.  Supported by fabulous choreography by Freya List we have a cast of musical theatre and opera singers dancing up a treat. The cast of nine principals is supported by the OA chorus who are onstage for most of the production. Eddie Perfect plays Voltaire/Pangloss. He’s possibly an acquired taste in this context but he acquits himself well. Lyndon Watts as Candide is incredibly good, he moves us to laughter and tears; Annie Aitken as Cunegonde is a genuine star with several minutes of rapturous applause and cheering for her work.  She is stunning! Euan Fistrovic Doidge is an hilarious Maximillian.  Opera stalwarts Cathy-Di Zhang (as a spirited Paquette), Dominica Matthews (genuinely fabulous as the Old Lady) shining alongside the mighty work of Eddie Muliaumaseali’I (as Cacambo).  Big Ups to John Longmuir (Governor/Vanderdendur) and Andrew Moran (Martin) who prove once again how outrageously talented they are. There is much to admire in this work. This “Candide” looks like and feels like you’ve eaten a LOT of fairy floss. But I think its Ok to break out occasionally and have some REAL fun with opera.  Viva la Difference! Review by Kate Gaul

The Pirates of Penzance Hayes Theatre Hayes theatre presents a Richard Carroll adapted by and directed production of the G&S favorite “The Pirates of Penzance” This is a story about a sailor, Frederic, who, having turned 21, is released from his apprenticeship to a band of tender-hearted pirates. He meets the high-born daughters of the incompetent Major-General Stanley, including Mabel, and the two young people fall instantly in love. Frederic soon learns, however, that he was born on 29 February, and so, technically, he has a birthday only once each leap year. His indenture specifies that he remain apprenticed to the pirates until his "twenty-first birthday", meaning that he must serve for another 63 years.  Bound by his own sense of duty to honour his bond with the pirates, Frederic's only solace is that Mabel agrees to wait for him faithfully. The pirates' maid-of-all-work, Ruth, eventually reveals a fact that saves the day. In this version we have only 5 hard working performers singing to a mixture of backing track and live music. The music is co-arranged and supervised by artistic director Victoria Falconer.  It is on the on-stage Trevor Jones who is co arranger and musical director. He’s a total glue stick and brings not only maturity and skill to the stage but an inherent understanding of the G& S oeuvre.  He is delicious in his roles and his Major- General is top notch in his rendition of the obligatory patter song: “I am the very model of a Modern Major General”.  Maxwell Simon is admirably cast as our hero Frederic with looks and a fine tenor voice to die for.  Brilliantly matched by soprano Brittanie Shipway as Mabel and maid-of-all-work Ruth, Shipway has some show stopping vocal moments and dazzles with her comic chops. She is a genuine star!  Jay Laga’aia plays the Pirate King and the Sergeant of Police.  He’s not a singer and brings little charisma to either of these roles.  But big shoes to fill as the ghost of John English haunts the Aussie stage from as far back as the 1990s in the famous Simon Gallaher disco-inspired productions (sound track readily available!). Bille Palin is a stalwart and plays several minor roles as on-stage swing. The production is delightfully set in what looks and feels like an am-dram pocket theatre (design - Nick Fry; costumes - Lily Mateljan, lighting - Jasmin Rizk).  Sound design by Daniel Herten mixes the multi-modal delivery of sound quite well but in such a small space and with the home-grown feel of the production it is a wonder it is not acoustic. Act One dazzles, full of promise with some reasonable genuine audience interaction.  Act Two fizzles. It reveals a paucity of point of view and audiences are left behind.  With a cast of five it is very hard to realise the complexity of this music and the text – as dazzling as it can be – has mostly been reworked for our contemporary times. That’s Ok but some of the original text is funnier. Go for the cast who are working their butts off.  There is some memorable work! One is reminded how tricky it can be to recreate the buzz and excitement of an original in a re-worked classic.  It shouldn’t stop anyone trying but do we lack the courage and madness of our musical forebears? Review by Kate Gaul

Masterpiece Flow Studios   “Masterpiece” made a splash at Sydney Fringe 2024. The season sold-out, awards were received. What next?   “Masterpiece” is in return season at Flow Studios as a prelude to an Adelaide Fringe debut at The Courtyard of Curiosities. Like the way of the best clowns this show has something for everyone.   The blurb invites us: “Welcome to the gallery. Enter two clowns who endeavour to complete the simplest of tasks: hang up a piece of art. What they didn’t plan on however, is an audience watching and a live musician scoring their every move. How hard can it be?”  This show is non-verbal physical theatre performed by two theatrical wonders Will Bartolo and Rae Colquhoun-Fairweather accompanied by musician James Tarbotton.  Over the 55 minutes of the show there is time for some improvised audience interaction.  But don’t be fooled – this looks easy, maybe even loose, but this is a precise, tight and well-conceived and delivered show. That’s the joy of a great clown show – often the most superb moment passes in an instance. A roller door lifts, and two monochromatic figures stand with a huge bubble wrapped canvas; arrows indicate which is way up – the big joke of course is that the signs come off and as the bubble wrap is removed something quite abstract is revealed. Part Laurel and Hardy; more than a pinch of Buster Keaton; and an oversupply of joi de vie, these performers are charmers. One relishes in the innocence of the characters but also the performers – these are professional artists, shapeshifters who give the gift of simplicity in a world over-supplied with complexity. And the audience love it! Plot points to die for are the repetition of posh gallery music on live violin as the show gets off to a rocky start; the magical revelation of objects from behind the canvas including a clock with spinning hands stressing the rising stakes (this painting MUST be hung!); the lunch bell which signals a stop work and what happens next; a persistent alarm (who crossed over the gallery line!).  No-one will forget the Irish dance sequence – I say no more (you have to be there!). The musician also has a part to play – he’s a plain faced character who permits a laugh during some lunch break scrolling.  I would have loved a stronger musical element throughout – it can be a bit too whimsical and background - but when the wall hanging is reaching its zenith the music becomes heroic and that is fabulous. It drives the action; it could subvert the action too but maybe that is a component that can be developed in the future. One nice touch is the incidental placing of a donkey on top of a short step ladder.  Is this Sancho Panza’s Donkey and these two humans representational of - on the one hand - common sense and humour to balance the idealism and imagination of the other?  Will and Rae are constantly shifting foils to each other which highlights the tension between the  fantasy and reality of life. Possible layers – great!   This is joyful, rigorous theatre! And the coup de theatre that ends the show? – well, “Masterpiece” is small jewel in the firmament of original work.  Recommended!!! Review by Kate Gaul