In The Heights review | Comedy Theatre

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.



Legally Blonde the Musical review | The National Theatre

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.

Beetlejuice the Musical review | Regent Theatre

Beetlejuice the Musical has landed in Melbourne with a blaze of black-and-white stripes, undead antics, and high-octane madness. Adapted from Tim Burton’s beloved 1988 film, this musical version cranks up the mayhem, blends in a hefty dose of heart, and delivers a gloriously grotesque night at the theatre.

The book by Scott Brown and Anthony King honours the original film and Burton’s offbeat vision while injecting a welcome touch of originality. Lydia’s grief and her complicated relationship with her father take centre stage, adding depth and emotional complexity. The chaos, macabre oddities, and laughs from the movie are all here, but now there's added warmth and feels.

The Lord of the Rings - A Musical Tale review | Comedy Theatre

I’ve never read The Lord of the Rings or seen the films, but you shouldn't need prior knowledge to enjoy a show, and that’s exactly why I was excited to see Lord of the Rings - A Musical Tale. I was curious how 1,200 pages of epic fantasy would be adapted into a three-hour musical, and even more intrigued by how this world would be conceived in theatre.

Visually, the production is captivating. Simon Kenny’s set design draws the audience into Middle-earth with subtle, seamless transitions as the story moves through various landscapes. The use of puppetry to bring creatures and enemies to life is a standout feature, cleverly used to build tension and horror within the limits of live performance. The costumes and make-up are consistently eye-catching and detailed, with the Orcs' imposing black outfits and masks particularly effective in conveying menace and power. Gollum is another highlight that convincingly displays what centuries of living underground can do to someone's face and body. Meanwhile, Galadriel’s golden robes convey the ethereal radiance and otherworldly presence of the Elven queen.

The Last Word review

Imogen Whittaker likes to have the last word. In her cabaret The Last Word, and as she closes out her 20s, Whittaker reflects on that crazy little thing called love and the relationships she's had in her life.

Whittaker is an engaging storyteller and within the first few minutes of the show, her captivating charm hits every corner of the room. She finds great segues as she moves from song to song without having them feeling shoe-horned in. She's clearly thought about the structure and the purpose behind every little heartache she shares with us. She maintains a strong rapport with the audience and the repeated callbacks and pop culture drops create an atmosphere of familiarity, warmth and vulnerability in the room.

Share House: The Musical review

Living in a house share is a rite of passage for most people. It is the period of your life where you must look after yourself and do all your own cooking, washing and shopping, while navigating the trials and tribulations of getting along with who you've chosen to live with. Share House: The Musical is built on the success of Jude Perl's 2017 comedy-cabaret Roommates: The Musical, but now there's a 15-person orchestra and four actors joining Perl on stage as she tries to negotiate the dramas of living with others and the issues that arise from that.

Isabelle Davis and Anita Mei La Terra play Perl's housemates with Davis taking the role of the harsh Jane who has been friends with Lucy since high school, and La Terra being the super positive Alice, who is the new addition to this house. With the dynamics changing due to a third housemate, all three are forced to question whether this arrangement will work for them. The three actors, especially Perl, dazzle with their vocal performances and while all songs are enjoyable, the songs they sing together are extremely fun.

Eighteen review

There aren't many 30 year olds who can say they've been friends for 18 years but Caitlyn Staples and Tiana Hogben are two of these. Having met at high school, the two have been thick as thieves, and with their sketch comedy / musical theatre show Eighteen, the duo lets us know just how deep this friendship runs.

They recall their time being obligated to perform in questionable student theatre productions concerning issues such as AIDS, refugees, teenage pregnancy and drug addiction, and we are ... fortunate enough to get a recreation of these scripts.

There are sprinkles of Pen15 awkwardness as we flashback to Staples and Hogben as their former teen selves in debating competitions and speaking to their parents during a school play and that comes down to the shared history they have. They know each other's strengths and how to make the other person look good. There are musical numbers that present glimpses of the quirky and offbeat humour these two have, and this is when Eighteen was at its unique best. Turkeys will forever be linked to this show.

Once review

Darlinghurst Theatre Company's Once has had three sold-out seasons over three years, and it is now Melbourne's turn to discover why this decade old musical is still a hit with audiences. The story centres on two lives that are drastically changed after a chance encounter between a struggling Irish musician and a Czech piano-player, both of whom are living in Dublin. What follows is a love story that gives them the confidence to take risks and grow, but whether that will be together remains to be seen.

A show like this relies heavily on the chemistry between its two leads so it's fortunate this production has Toby Francis and Stefanie Caccamo reprising their roles from previous seasons, as sparks fly from the second they appear on stage together. This repeat casting has allowed the two to really identify who these people are, and to be extremely comfortable and self-assured in understanding their character's vulnerability, drive and emotions.

Outer Child review (Melbourne International Comedy Festival)

As adults we often forget what life was like when we were children and the freedom that came with being a child and not being jaded, worried, cynical or anxious about life. In Outer Child, Ashley Apap takes her audiences on a self-help journey of discovery about repair, understanding and self-compassion.

Apap plays a no-nonsense life coach, whom we have paid a lot of money for this six step program to learn from. She's so focused on this journey that she won't even accept any form of applause when she appears on stage. Everything seems to be going well(ish) until she has an IBS attack which results in Apap's inner child becoming free with the older Apap now trapped inside a hydroflask.

Odd Sock review (Melbourne International Comedy Festival)

Within the first few minutes of claiming to have nothing left to sing about, Gabbi Bolt has already brought up gender, race, privilege, anxiety and a whole range of other issues and topics. But yet, she still feels like an odd sock, and with her new comedy show Odd Sock, she describes the various ways in which this manifests through music, singing and storytelling.  

Bolt covers a number of relatable topics, including the relationship and power dynamics between a dog and its owner, the perils of lusting after a celebrity obsession (and in the case of Bolt's pick, you really can't blame her), and the joys of working retail (spoiler alert, there aren't any). Each song consists of sharp, witty observations of not only the world around her but also about Bolt's own life.

The Last Brunch review (Midsumma Festival)

Darwent & Gray makes its return to Midsumma Festival with a brand new musical theatre production The Last Brunch. With an all-queer cast, the story follows Bea, who is invited to Brandon's home, her ex-boyfriend, who announces he is getting married to his new partner.

What ensues is a comedic but considered look at love, marriage and relationships within this group of queer and trans friends, lovers and in between. Caleb Darwent's script is full of interesting insights about how the queer community views marriage, from both sides of the spectrum. Rather than imposing their own opinion on the issue, Darwent uses the first half of the show to have an open discourse on these ideas, whereas the second half is more a look at the impact relationships - both romantic and platonic - can have on people within the trans and queer community.

The Beep Test review (Melb Fringe)

The Beep Test. For those who know it, it is most likely the cause of much anxiety and triggering memories during your high school years. For four students (and their PE Teacher), it is the instigator of some serious competition as each one vies to take out the title of Beep Test champion for the year, with a bit of song and dance thrown in the mix.

Created by Conor Neylon and Jackson Peele (Neylon & Peele) and presented as part of the Melbourne Fringe Festival, The Beep Test is an original musical theatre show that is an A+ production. It is an exceptional fun hour of comedy that takes an unexpectedly emotional look at dealing with the pressures that hang around us and the ones we put on ourselves during our formative years, and the lasting impact this can have.

Jackson Peele is bringing the fear of beep tests back with his new musical theatre play, The Beep Test

The beep test is a fitness test where people run back and forth between two points. A programmed beeping noise determines the running speed that must be maintained which increases and decreases as the test continues. But in the case of the Melbourne Fringe Festival, The Beep Test is a musical theatre comedy piece presented by upcoming writing duo Jackson Peele and Conor Neylon. The musical follows four highly competitive Year 7 students as they compete to win top place in the beep test, whatever the cost may be.

While The Beep Test had positive responses at its Perth Fringe season, Peele was not initially convinced of its potential when approached by Neylon. "The concept was Conor’s idea and to be honest, I really wasn’t sold at first. We’d been (and still are) trying to write the great Australian musical! I kid, I hate pretentious shit," Peele laughs. "But it genuinely was Conor’s idea and I did take a hot second to come around."

I Hope My Keyboard Doesn't Break review (Melbourne International Comedy Festival)

Gabbi Bolt's I Hope My Keyboard Doesn't Break may be her first solo show but Bolt is no stranger to musical theatre (Ratatouille the TikTok Musical and Schapelle! Schapelle! The Musical) or to comedy (The Chaser). Bringing these two together for the Melbourne International Comedy Festival, Bolt sings her way through various worries and concerns she has about the world around her, like climate change, as well as issues that are of a more intimate nature, like whether she chooses to have children or not.

Bolt is extremely personable and relatable with her commentary. It never feels like she is simply going through a list of issues and ticking them off, but that each one actually means something to her, regardless of how important or impactful on the world it might be. She is one of those performers who can pack out a venue but is engaged with every single person there and gives the impression that she is speaking (and singing) to each individual in the room.

Any Moment - Melbourne Cabaret Festival review

It’s always exciting to witness new Australian musical theatre being staged, and it’s even more of an experience seeing a production build towards its debut. Presented as part of the Melbourne Cabaret Festival, Bradley McCaw’s concept performance of Any Moment was an opportunity for the creative team and cast to try out some of the songs from the musical and have a play with the musical arrangements. 

Any Moment is set to take place over 24 hours beginning at midnight on New Year’s Eve as we follow the stories of several individuals from a single town. As this is a concept performance focusing on the music, we don’t really meet any of the characters or explore any narrative thread, but the songs chosen do give a good insight into the lives that they lead.

There’s plenty of Aussie humour in the songs, with a nod to The Castle in the opening number "Twenty More Till", and a later one where a character expresses how much he loves a woman in “Top Shelf”. “The Door” duet is a touching moment and can see this being a winning number once we get to know the characters. While it’s not confirmed which songs will be in the production, it will be sorely disappointing if this is not included. With musical direction by Shanon Whitelock, there’s a variety to the style and genre of songs McCaw has penned, including “Coming in From The Suburbs” which allows for the different types of people that reside in this town to be shown.

The Aspie Hour - Melbourne International Comedy Festival preview

At last year's Melbourne International Comedy Festival, a joyous little cabaret was performed at The Butterfly Club. Initially with little fanfare, word of mouth soon spread making it one of the most sought after tickets at the festival. The show was The Aspie Hour and it returns for an encore season at this year's Melbourne International Comedy Festival.

Written and performed by Ryan Smedley and Sophie Smyth, they share two 30 minute stories on their experiences of living with Asperger's Syndrome through their mutual love of musical theatre. The two met while studying a Bachelor of Arts (Music Theatre) at the University of Ballarat. While they were a year apart, in their respective final years they each had to create a ten-minute cabaret that ended up being very similar. "Both were about music theatre and about our experiences with Asperger’s. They were focussed so specifically on the same issues that it just made sense when our director, Fiona Scott-Norman, suggested expanding and combining the two," they tell me.

From there The Aspie Hour was born, resulting in an extended sell out season at the comedy festival and most recently picking up two Green Room Award nominations for Best Writing and Best Ensemble for cabaret. "We certainly felt very lucky to receive so much interest, particularly as the season progressed. Sometimes when creating a show, it can take until the end of its development before the most potent themes emerge. I eventually realised the show is summed up in a lyric at the end of one of our duets: "Everyone is different, yet the same," Smedley says.

The Aspie Hour - Melbourne International Comedy Festival review

Meet Sophie Smyth and Ryan Smedley. They both love musical theatre, they have both travelled to New York for the sole purpose of watching as much musical theatre as possible and they both have Asperger's Syndrome. In their comedy cabaret show, The Aspie Hour, the two share moments of their lives and reflect on what it's like living with Asperger's.

Even though eye contact makes them nervous and not liking physical contact with people, Smyth and Smedley seem to absolutely love being on the stage and make clear eye contact with the audience throughout, instantly creating a connection with us. Their openness and vulnerability allows the audience to better understand not only what Asperger's Syndrome is, but also how it impacts the lives of the people who have this type of autism. 

Bare review

Stage Art thrive on putting on musical theatre productions that are rarely seen. For their second outing of 2018, the company has brought to the stage Damon Intrabartolo and Jon Hartmere's Bare, a 2000 off-Broadway show focusing on the lives of a group of students at a Catholic boarding school on the cusp of adulthood. While there are a few themes that are tackled, the story predominantly follows two boys who struggle to come to terms with their burgeoning relationship and the implications this could have on their futures.

Finn Alexander delivers a charismatic and winning performance as the most popular boy in school, Jason. While outwardly he is confident and self-assured, Alexander expresses the doubts, anxieties and fears that reside inside Jason through consistent and effective body language and facial expressions. Adam Di Martino as Peter finds the emotional depth of his character and the audience is able to sympathise with him in his longing for a happy ending. The chemistry between Alexander and Di Martino is undeniable as they explore the excitement and fear of new love.

Falsettos - Midsumma Festival review

Set in 1979, Falsettos is an entertaining yet affecting musical of a New York family trying to keep it all together. With music and lyrics by William Finn and the book by Finn and James Lapin, the story explores the complexities of life and the struggles we face to find the balance in the different roles we lead.

Dom Winsor as Marvin manages to show the varying facets of his life with an intimacy that is rarely seen in musical theatre with his relationship with his son (played by Riley Flood on the night attended) being one of the most rewarding ones to watch unfold. Flood delivers a highly convincing portrayal of a teenager who is intellectually on the same playing field as the adults around him. Playing Marvin's on/off boyfriend Whizzer, Sam Ward brings confidence and charm to the character, however the chemistry between Marvin and Ward, which is integral to Falsettos, feels the weakest of all the relationships in the show.

The Carnival of Lost Souls review

There can be no greater feeling than that of loving someone and being loved back. However, sometimes that gift can also be a curse. In the The Carnival of Lost Souls, ill-fated love and the afterlife are explored through the blending of circus and musical theatre. Performed in the Melba Spiegeltent, the show tell the story of a gypsy fortune teller and a giddy clown who despite being meant to be together, are destined to be apart.

A late 1800s carnival ambience is immediately established through Jason Bovaird's effective lighting design and Clockwork Butterfly's highly detailed Victorian Gothic and Steampunk costumes. As such, the acts themselves retain a simplicity in style and are more about showcasing the skill of the performers rather than distracting you with the razzle-dazzle of a large-scale circus.