Brought to stage in 1952 and immortalised two years later in Alfred Hitchcock’s classic film, Dial M for Murder has long been a favourite for lovers of tightly wound thrillers. This latest production by Smoke and Mirrors Productions keeps the bones of the original intact while slipping in a few contemporary surprises to give the story a new edge. The result is a sharp, stylish take on a familiar tale that knows how to keep an audience intrigued.
The first act plays out in a fairly straightforward fashion, leading to the inevitable attack and its immediate aftermath. Then the show changes lanes entirely. The second act throws us into the 1980s, with the set and props transformed: rotary dial phones become corded, a red gown gives way to shoulder pads, and additional small touches signal a leap forward in time. The third act brings us to 2025, including sneakers being worn, iPhones being used, and other modern details that pull the narrative firmly into the present.
Melbourne has turned the volume up to eleven with In The Heights, a vibrant burst of music, movement, and pure heart that spills from the stage. Lin-Manuel Miranda’s beloved musical ignites to life with warmth and energy, planting the audience into a neighbourhood alive with stories. From the first electrifying note to the final bow, this is a celebration of the delight that comes from being part of a community.
In The Heights follows Usnavi, a bodega owner in lively Washington Heights, as he wrestles with whether to stay and carry on his family’s legacy or chase his dreams elsewhere. The story weaves through the lives of the colourful residents, including Nina, a young woman returning from college, Benny, a dispatcher caught between two worlds, and Vanessa, Usnavi’s love interest dreaming of a better life. Against a backdrop of pulsating music and exhilarating choreography, the musical explores identity, family, ambition, and the bonds that hold this neighbourhood together.
We meet outside a café where our guide gathers us and leads us into a tangle of winding paths. Whether by design or happy accident, the guide’s chatter keeps me distracted enough that I lose track of where exactly we’re going. By the time we stop, we’re in front of a compact corrugated iron shed. Before we’re allowed in, we’re asked three abstract questions that make you pause and reflect, while a scribe dutifully jots down our answers. Then, with a ceremonial ring of a bell, the door opens and we step in.
Making her acting debut, Annalise Gelagotis captures the eponymous character's surface-level frustration and defiance, but is unable to thoroughly explore Julie’s internal conflict and shifting status. What’s missing is a deeper layer of subtle vulnerability and psychological tension that would allow us to connect with her downfall. As it stands, the performance feels too obvious and leans into melodrama.
Bloomshed takes a sledgehammer to Jane Austen with their vision of Pride and Prejudice. Reimagining the classic novel with the company's trademark satire, real estate panic and modern love fatigue, the Melbourne-based theatre company tackles the Bennet family’s marriage market negotiations with big ideas and plenty of laughs as they drag Austen’s romantic masterpiece into the cost-of-living crisis.
The regular Bloomshed gang are still going strong, and their chemistry keeps building momentum. The ensemble clearly loves to play, and play off each other, with their joy radiating in every scene, with Laura Aldous, Elizabeth Brennan, Syd Brisbane, Anna Louey, and Lauren Swain bringing the Bennet sisters to life. Louey’s performance is measured and engaging, weaving well into the group dynamic. I’ve said it before and I’ll say it again, Brennan is an incredible talent to have on stage, and watching her navigate Elizabeth’s wit and bite is a real treat.
Kimberly Akimbo: A Musical might seem like your typical coming-of-age musical, but it quickly proves to be something stranger, darker, and slightly more surreal. The story follows a 16-year-old teenager who has a rare genetic condition that causes her to age four times faster than usual. As she negotiates her way through high school, first love, and a wildly dysfunctional family, Kimberly is also racing against time in her quest to experience life before it slips away.
Marina Prior takes on the role of Kimberly and does a fantastic job of conveying the character’s unique challenges. She captures the confusion and vulnerability of a teenage girl trapped in an older body with subtlety and heart, never tipping into over-the-top comedy. Her performance is authentic and sincere, which is no small feat given the material. Darcy Wain is an absolute scene-stealer as the awkwardly endearing Seth. He shares an effortless chemistry with Prior and his presence brings a welcome charge to the show, making Seth its quiet anchor amid the mayhem.
