The Forgotten Songbook review

Once a well-known figure in the Broadway scene of the 1930s and '40s, Wilbur Weismann seemingly vanished into oblivion, with little information on what became of him. But for writer/composer Emerson Hurley, one listen was all it took to become utterly hooked and intrigued. That spark led Hurley down a rabbit hole, determined to bring to light who he really was and give his work the recognition it deserves. The Forgotten Songbook revives his timeless tunes - including some recently unearthed compositions - and weaves them together with anecdotes from his life. What emerges is not just a tribute, but a meditation on artistic imprint and the search for validity.

Karla Hillam and Jonathan Guthrie-Jones are our performers for the evening: cheesy, charming and completely committed as they bring Weismann’s story to life. Their brilliance is undeniable, with strong vocal skills. Their voices blend beautifully in duets, while each also delivers impressive individual moments that showcases their range and presence.

The Glass Menagerie review

First staged in 1944, Tennessee Williams’ The Glass Menagerie is a classic piece of theatre. Described by Williams as a 'memory play', he draws on his own experiences to tell the story of the Wingfield family, including the restless Tom, his controlling mother Amanda, and his fragile sister Laura. Set in a small apartment in 1930s St. Louis, the play explores the theme of how memories shape our past and our future and the divide between the world as it is and the world as we'd like it.


Under the direction of Nicholas Reynolds and Nadia Sirninger Rankin, the Wingfield household is a haven of familiarity and safety. The way the family moves, stands, and sits on stage conveys a natural ease, as if this is the one place they are truly secure. The heart of The Glass Menagerie lies in the depictions of the emotional struggles these people face. Unfortunately, the performances miss the crucial push and pull that drives the story. Amanda lacks the fierce dominance she needs, Laura’s fragility is muted, and Tom’s inner battle never quite surfaces. Together, this weakens their dynamics, and the heartbreaking and haunting finale loses its effect.

Rumbleskin review

A trucker picks up a pregnant teen on an empty stretch of road, a young rodeo rider stumbles onto a mysterious ranch, and a fugitive arrives in a cursed town seeking safety. These three stories form the backbone of Rumbleskin, that is set against a rugged Western backdrop. Unrest spreads across these lands through a strange disease known as the rumbleskin. This original story by Ames May Nunn fully embraces the Western environment while delving into ideas of transformation, identity, and survival in this striking queer folk tale spanning generations and the shifting landscapes of the heart.

The cast of five display great skill as an ensemble, but in their individual portrayals of numerous characters, there are moments that are slightly off. Ziggy Resnick holds our gaze as Celia, a hitchhiker with lucky thumbs, but it’s as the Preacher’s Daughter that she commands the stage. Luke Wiltshire is also compelling as both Ditch and the Preacher, and the pairing of these two actors is a stroke of genius as they spark off each other in their limited shared scenes. The depiction of Young Scratch by Sunanda Sachatrakul, and the Runaway by Cassidy Dunn are questionable - but given the strength of their work in other roles throughout the show, this seems more like a directorial choice than a reflection of their ability. Both are played with exaggerated intensity, lacking the nuance or subtlety that could make them really land. Lines are occasionally shouted seemingly for the sake of it, and some control in delivery would go a long way.

garçon review

In garçon, wani toaishara invites us into a soulful reflection on growing up Black in Auckland, New Zealand. Drawn from his memory, the production examines the push and pull of youth, its delights, its risks, and the events that mould who we become. With poetic narration and a keen eye for detail, wani blends humour, hardship, and tenderness into something that is personal and moving.

Having won the Australian Poetry Slam championship in 2019, wani has a remarkable gift for language. The way he articulates himself and selects his words is precise and striking, blending expressive storytelling with candid, understated feeling. His captivating style brings to life not only his own journey but also lends unique voices to the supporting figures - real individuals from his life - making each one vivid and unforgettable. Wani takes us deep into his world, and encounter the joys, struggles, and endurance that shaped him.

Here You Come Again review

Here You Come Again is a jukebox musical that weaves Dolly Parton’s celebrated country tunes into the story of Kevin, a man stuck in lockdown during the height of the COVID pandemic. Lonely and directionless, he finds unexpected guidance in the form of an imagined Dolly - part muse, part motivator - who helps him make sense of his stalled life. With a simple two-person cast and a setlist of familiar hits, this production aims to offer a gentle message about finding resilience when everything feels uncertain.

The success of a show like this rests heavily on the rhinestone-studded shoulders of whoever takes on the role of Parton, and it has well and truly struck pink with Tricia Paoluccio. Under Gabriel Barre’s direction, she captures Dolly’s voice, laugh, and mannerisms with uncanny precision. It’s not simply an impression, but a fully realised performance with her musical numbers also a highlight. Alongside the talented onstage band and Andrew Worboys’ musical direction, these songs are delivered with wonderful energy and authenticity.

Legally Blonde the Musical review

Legally Blonde the Musical, based on the iconic 2001 film, has won acclaim and awards worldwide for its witty book, catchy score, and the effervescent tale of Elle Woods’ transformation from underestimated blonde to Harvard Law star. This production by Theatrical Inc channels that same spark, bringing comedy, standout musical moments, and some four-legged scene-stealers to the party.

Emily McDougall gives a highly spirited performance as Elle, with enough presence to lead the musical. She brings charm, determination, and an infectious confidence that carries the role with ease. However, to better match her movie counterpart, her costumes could be more unapologetically feminine, boldly pink, and cleverly subversive to fully capture the character’s appeal. Similarly, the blonde wig she wears needs to be securely set, as the lifting adhesive around her face became increasingly visible and distracting.

Smokescreen review

 Set against the smoky backdrop of 1977 corporate America, Smokescreen is an insightfully portrayed drama that explores the insidious relationship between government and controversial industries. The story centres on Glenn, an oil executive who begins to question his morals when the environmental cost of his work becomes impossible to ignore. He sets up a discreet meeting with Bud, a charismatic young 'ad-man' from the tobacco industry, to help him sell the no longer sellable, and to set his conscience at ease over what he is doing.

The pairing of actors Christopher Samuel Carroll and Damon Baudin is nothing short of genius. The two play incredibly well off each other, and it is fascinating to observe their subtle power plays and the creeping change in status unfold. For most of the show, Baudin remains seated in his chair yet his growing arrogance, smugness, and hint of corruptibility slowly seep through in the smallest of movements and expressions. It's a performance I will think about for a long time to come.

Have a Goodnight Walter review

In Have a Goodnight Walter, Dean and Mary are a married couple living with Dean’s Obsessive Compulsive Disorder (OCD). Checking that doors are locked, windows are shut, and monitoring the motion detector camera at the front gate are all common occurrences. One evening, an unlocked door threatens Dean’s fragile OCD management, as his intrusive thoughts begin to manifest through the people around him.
 
The 45-minute show immediately drops the audience into Dean’s headspace, with no preamble. We are told early on that Dean has OCD, but are offered no context for his extreme behaviour or mental state, which leaves us scrambling to make sense of why he is spiralling. Personally, I’ve never seen OCD portrayed in such a psychologically heightened way, involving feverish hallucinations. A better-defined introduction to Dean’s internal world would have helped ground the audience, making certain scenes more meaningful, such as why the police conduct a welfare check prompted by his OCD.

Mother Play review

Mother Play by Paula Vogel is a sprawling drama that follows a mother and her two children across four decades. In Melbourne Theatre Company’s season, directed by Lee Lewis, the story is brought to life with compelling performances and smart design choices. With three actors carrying the full weight of the narrative, the production moves confidently through time while exploring the strains, bonds, and psychological complexities of a family shaped by their era.
 
The Herman family’s evolving relationships are anchored by Sigrid Thornton’s powerful portrayal of matriarch Phyllis. Thornton is magnetic and has a presence that doesn't even need dialogue to make an impression. In a delicately constructed wordless montage of time passing, Lewis presents Phyllis alone in her home, where Thornton skilfully communicates the gradual softening of her character’s defences, from the way she carries herself, how she eats and drinks, and even how she observes her surroundings. Every one of her actions are charged with significance.
 
Yael Stone and Ash Flanders play Phyllis’ children, Martha and Carl. Ordinarily, it would be a stretch to accept actors in their 40s playing teenagers, but both Stone and Flanders bring a convincing, wide-eyed energy to their early scenes. They display their characters’ development with restrained voice, stance, and depth. The connection between Martha and Carl is heartfelt with an evident closeness and appreciation that underlines their relationship as it evolves.