Snowflake

Snowflake

Snowflake Rating

★★★★★

Click if you liked this article

1

As the festive season approaches, our thoughts inevitably turn to Christmas and family. But alongside the excitement of celebrations, there is often another, less comfortable side to the season: family tensions, unresolved arguments, estranged relatives, and for some, perhaps a painful question of whether there is anyone to share it with at all.

This is precisely why 'Snowflake' feels so perfectly timed. A beautifully observed, emotionally charged play, it explores the complicated, messy and deeply human relationships that Christmas has a way of bringing to the surface.

At its heart is Andy, a lonely father desperate to reconnect with his estranged daughter. But this is far more than a story about a father and daughter trying to make peace. Written by Laurence Olivier Award-winning and BAFTA-nominated playwright Mike Bartlett (King Charles III, Doctor Foster), this critically acclaimed festive production delves into the emotions we often struggle to express: the unconditional love we have for our children and parents, the judgements we make, the acceptance we sometimes withhold, and the longing to repair relationships that have been broken – often with responsibility lying on both sides.

And be warned: this is a real tearjerker. I cried twice! More importantly, I left the theatre thinking differently about how I approach family disagreements and the importance of listening to the people we love.

James Lugton, as Andy, is absolutely brilliant. His portrayal of a father desperately seeking reconciliation is extraordinarily moving. We see a man carrying years of unspoken emotions, struggling to find the words to express his love, regret and longing.

Claudia Elbourne, as Maya, is equally compelling. She plays a gentle, reserved young woman who eventually finds the courage to confront her father. For Maya, this meeting is not simply about revisiting the past; it is about recognising that she cannot continue carrying the weight of their unresolved relationship.

Lilian Alejandra Valverde, playing Maya's girlfriend, is another wonderful presence. Strong, intelligent and compassionate, she provides a steady source of support as Maya navigates this emotionally difficult encounter. Her character brings warmth and balance to the story, reminding us how important it is to stand beside the people we love when they are facing their own family struggles.

 

The stage design plays almost a fourth character. It is not simply an attractive Christmas setting; it becomes an essential part of the storytelling.

The meeting takes place in a hall Andy has rented for the evening. Since the death of his wife, Andy has been unable to celebrate Christmas. The season has become a painful reminder of his loss. Yet, in an attempt to make peace with Maya and show her how much she means to him, he decides to recreate the Christmas atmosphere of happier times.

Andy is not merely decorating a room; he is trying to recreate a shared memory, to bring back a little of the happiness they once knew and to show his daughter that he is ready to open his heart.

The falling snowflakes are particularly evocative. They add a sense of tenderness and magic to the production, almost reflecting Andy's wish to soften the distance between them. Against this beautiful Christmas backdrop, the emotional weight of their conversation becomes even more powerful.

One particular line from Maya stayed with me long after the performance:

"Just listen to me."

Such a simple request, yet one that carries enormous emotional weight.

It made me reflect on how often we allow our own opinions, frustrations and desire to be right to get in the way of truly hearing the people we love. How frequently do family disagreements become battles in which everyone wants to defend their position, but nobody is willing to stop and listen?

'Snowflake' gently challenges us to reconsider this behaviour. Perhaps reconciliation does not always begin with an apology or an explanation. Perhaps it begins with something much simpler: giving someone the space to speak without interrupting, judging or immediately defending ourselves.

To listen, not to offer advice, not to argue, not to prove a point, but simply to understand.

And perhaps, just as importantly, to accept that we can love someone deeply while disagreeing with their choices, opinions or way of seeing the world.

As Christmas approaches, when family expectations and old tensions can become particularly difficult to navigate, this play feels especially relevant.

A wonderful piece of theatre – and perhaps one of the most meaningful Christmas gifts you can give yourself this season.

To book tickets to Snowflake, please visit https://www.ensemble.com.au/shows/snowflake/.

Photographer: Prudence Upton

Spread the word on your favourite platform!

The Sum of Us

The Sum of Us

The Sum of Us Rating

★★★★★

Click if you liked this article

2

There’s nothing quite like the love a father has for his son. Even when said son is a bit “cheerful”. Harry loves his son, Jeff, more than anything, and his support for his son’s gay lifestyle is as wholesome as anyone could hope for. We are introduced to the father and son duo living – mostly – in harmony with one another as they each navigate their own love lives.

John Rosen puts on an outstanding performance as the charismatic Harry. An outrageous flirt, but first and foremost father to Jeff, he is the embodiment of a typical Australian father, who simply wants his only son to be happy and fulfilled in life. John fills the stage with his presence, balancing the heavy topics with easy one-liners to keep the audience on the precipice between emotionally misty eyed and cackling with laughter. Harry is everything any queer child could want in a parent – supportive, caring, and a touch too overbearing when it comes to the potentially transmittable diseases.

Harry’s son, Jeff, captures the audience’s attention as soon as he strides onto the stage. Matthew Chant treats us to an exemplary performance at not only showing Jeff’s confidence, but his insecurities, his desires, and his love for love. Jeff is a typical Aussie tradie – a little rough around the edges but a sweet, soft toffee at heart. Matthew carries Jeff through the emotional turmoil of a young man seeking love, and shows the audience exactly what he thinks of his dad’s habit of overstepping with a terrific use of facial expressions and body language.

To add to the turmoil of the father and son, Julie Quick is carried into the audience’s attention with her bright personality and her melodramatic moments. While her moments on the stage are short-lived, she reacts with and to John as though they have been working together for years. Their characters’ flame burns as brightly as their disagreement, and poor Harry is put into a terrible position between his love interest and his son.

 

Not nearly as bad as Greg, Jeff’s love interest. Much like Julie, we don’t see him on stage much, but he quietly and shyly inserts himself into Jeff – and consequently, Harry’s – lives and hearts. Be prepared for Christopher Cordeaux to tear yours out as Greg slowly reveals his home life situation to Jeff.

With a simple set of a typical Australian home living room, the scenery doesn’t change rapidly, but the small changes – and one set change – that are undertaken are performed smoothly, and paired with a fun soundtrack for the audience to listen along to. The set immediately felt like home; cosy, inviting, and lived-in. Not worn or lacking any decorations, as one might expect with two men living together, but warm and happy. Keep your eyes open whenever cast move off set through the “front door” or into the hallway, for even those spaces have been considered and well dressed.

The lighting was well-timed and provided a natural, warm feeling for the space. This can be said for the soundtrack too, both of which did a fantastic job of providing the required ambience for the space without being noticed in any negative way.

Filled to the brim with second-hand “my dad is so embarrassing” scenes, plenty of laughing out loud, and beautiful, wholesome scenes, “The Sum of Us” is fun, emotional, and a beautiful story worth the watch for every straight and queer person alike.

“The Sum of Us” has a two-hour runtime with a 20 minute interval.

Trigger Warnings: mentions of homophobia, discussions of sexual intercourse, swearing, drinking onstage

To book tickets to The Sum of Us, please visit https://www.galleon.org.au/html/theSumOfUs.html.

Spread the word on your favourite platform!

Fuccbois in Concert: A Comedy Concert Extravaganza!

Fuccbois: Live In Concert

Fuccbois: Live In Concert Rating

★★★★★

Click if you liked this article

2

Who’s excited to see the world’s most famous boyband Fuccbois? They’re in Sydney on their farewell tour, performing to fans in an arena of 90,000 people! Girls will scream, lighters will be lit and sway as they croon love songs, women will swoon as the boys serenade them - they’re the “Fuccbois: Live in Concert”! Ok, one point of that was exaggerated (the 90,000 people) but that’s the point of this satirical pop musical from the clever comedic mind of Bridie Connell, an ARIA and multi-award-winning writer and performer.

The term Fuccbois is modern slang representing boys who are ‘players’. They don’t want to be tied down to one woman, yet they manipulate them to believe they are “the one” with sweet talk and love bombing. This is the premise of all the songs in the concert, with toxic dating lyrics and very questionable morals woven in to some extremely catchy songs. Combined with the Fuccbois perfectly timed and sharply executed dance moves, with choreography by Jamie Winbank, the show was hilariously side-splitting! These four drag kings, three women and one non-binary person are the Fuccbois - Bridie Connell as Brandon, Vidya Makan as Brendan, Megan Walshe as Tyler and Clara Harrison as Also Brendan.

Move aside New Kids on the Block, Westlife, NSYNC! Begone, the Backstreet Boys!

The hype of the Fuccbois World began the moment we arrived at the Darling Quarter Theatre, with a small crowd holding ‘fan made’ signs proclaiming love for the band milling outside, some begging for tickets to this sold out show. This was a nice touch, and set the audience up for the big band. When we were seated, the lights dimmed and the air buzzed with excitement as a video began playing, with slices of scenes of the band is being interviewed on Australian morning shows and fans of all ages saying how awesome Fuccbois are, similar to the intros of huge acts at their concerts. Then the lights flash and there they were on stage - the four Fuccbois singing their intro song in harmony, hip thrusting in unison and winking at the audience, exuding boy band confidence and ultra satirical sexiness! Their drawn on cultivated beards, oversized shorts and caps worn with attitude say it all.

The drag kings soaked up every mainstream boy band-ness trait with songs that were from the band’s ’12 year history’, their back catalogue for their ‘final show’ (“No encores” - Brendan). This meant the audience felt that twinge of nostalgia, listening to songs such as the title song “Fuccbois” in the pop style with synthesisers, drums and rhyming lyrics where each band boy took turns singing about how awesome they are.

 

“Three Little Words” was accompanied by the naughtiest emoji combinations (eggplants, tongues, fingers etc) flashing on the screen with a very catchy pop chorus. The three little words in the title were not “I love you” as one may have assumed but “r u up?” which had the audience in continuous stitches of laughter. It was their dancing and attitude, the continuous interaction, winks and pointing to the audience that captured us.

Another memorable song was a nod to the character Brendan’s Irish background and it was sung with great earnest and deadpan seriousness to perfection by Vidya Makan. It was “The Gaslight Shanty” and involved the audience joining in. Brendan wove in a very clever detour halfway through that song which had everyone laughing.

“Slow Fade” leaned into the soulful style of music, and “The Only One” had very much a ‘christmassy special’ type of style to it still with the 90’s overtone. These songs had similarities to common radio songs, instantly recognisable as ones from the 90’s era, with their beats and styles. What sets this comedic musical apart were their lyrics, poking fun at their own narcissistic and misogynistic traits. A great example is “Rich Dad” with the lyrics “sports cars, trophy wives, I’ll miss your birthday, I’m in the Maldives”.

Adding to the musical was the story of Micaela, portrayed by Blazey Best. Micaela, the stage and tour manager runs the show (literally, on-stage) guiding the Brendans, Tyler and Brendon, getting more frazzled and stressed as the concert went on due to dealing with the boys’ fragile egos.

The Fucccbois’ band attitude continued throughout the show, and the dynamics between the characters with jealousies and inter competitiveness for the limelight added to the story. Sprinkles of flirtation with the audience were interspersed in between songs, with Tyler (Megan Walshe) serenading several concert goers, even going into the audience at one stage. It was very funny to see this! Also Brendan (Clara Harrison) had his own thing, with the spotlight being on him musing “why am I here?” several times, and we couldn’t help but feel sorry for Brendan. Kudos to Harrison for showing the vulnerable side of this character!

Leave the world behind and step into the crazy sphere of “Fuccbois: The Concert”. The comedy was continuous, and I didn’t stop laughing. The beautiful vocal talents and harmony of the four were at odds to the insulting satirical lyrics they were singing, and this set this concert up to be one to remember. Although Brendan kept insisting throughout the concert that this would be their Farewell Tour (“No encore”), I can’t help but consider returning for indeed just that, another night in the future, perhaps this time in a “We <3 Fuccbois” t shirt and merch I saw after the show - perhaps I’ll be one of the fans standing outside asking for a ticket to see “the best boy band in the world” if I can’t get in. Get the girls together, grab your tickets and do not miss this! Run time: 80 minutes with no interval Season run: October 27 - November 14 2026 Tickets: www.darlingquartertheatre.com.au/event/fuccbois-live-in-concert

To book tickets to Fuccbois: Live In Concert, please visit https://www.darlingquartertheatre.com.au/event/fuccbois-live-in-concert/.

Photographer: Cameron Grant

Spread the word on your favourite platform!

Twist of Fate's Halloween Special Blends Horror with Heart

A Twist of Fate: Season 6(66)

A Twist of Fate: Season 6(66) Rating

★★★★★

Click if you liked this article

The latest Halloween instalment of Scary Goats Theatre’s Twilight Zone pastiche is a successful reminder of how strong acting can elevate the simplest of stories and genres.

The evening’s first story was Count on It, written by Liliana Braumberger and Chloe Towan. Major Roger Hart is a WWII fighter pilot who is intercepted by three sirens: a strange cross between the Weird Sisters and the Andrews Sisters, who have come to judge whether Hart is as good a soldier as he appears.

The actors’ energy and timing make this an engaging opener to the night’s events. The trio of actresses who play the sirens show remarkable synchronicity as they finish each other’s lines and sing seductive harmonies. Their playful menace made me equally intrigued and intimidated. I do feel, however, that this story could have benefitted from a full-length runtime to properly unpack how Hart’s choices impact the next generation of soldiers.

The second play, The Dollhouse by Jack Bengough, demonstrates a strong emotional throughline that I feel Count on It could have better developed. 13 children have disappeared from the town of Bent, and two agents of the crown have been sent to resolve this bizarre mystery. Their investigation leads them to the home of a strange old woman, where our heroes must sacrifice something of great value to them to save the missing children.

First-time Scary Goats Theatre actors, Jack Farley and Lauren Sewell, effortlessly convinced me of their characters’ years of companionship with likeable line deliveries and subtle gestures. Their believable chemistry made the twist ending, I believe, one of the most poignant twists this anthology has given us so far.

 

Hayley Richards provides great versatility as the old lady, showcasing her skill as an antagonist after mostly starring in heroic and neutral roles. I know personally that Richards is a very experienced actress, so it’s a testament to good direction that her performance doesn’t overshadow the all-important chemistry between Sewell and Farley.

The Itch by Savier D’Arsie Marquez centres around a couple of struggling artists and romantic partners named Joan and Fi. Joan takes a real estate job to support Fi’s dream of touring the country, but it’s not long before the allure of stability and success begin to change Joan into something her partner scarcely recognises, something monstrous.

This is another great example of a compelling central relationship making a story’s twist ending impactful. The script’s witty, sardonic dialogue accurately captures the passive-aggressive verbal jousting with which young couples approach conflict. The conflict between a career vs. a relationship is a time-worn story, but Tayla Harry and Chloe Towan, as Joan and Fi respectively, give these doomed lovers a good amount of nuance.

The play’s final scene is a triumph of Twist of Fate’s ability to balance varied tones. The scene deftly transitions from amusingly hammy physical acting and costume work to an emotionally devastating loss. In a story about the collapse of sincere communication between lovers, supposed monsters become unexpected victims and supposed victims become guilt-stricken tormenters.

The evening concluded with my personal favourite of the four plays: Soot by Emily Morey. Bing, Bang and Bong are three performance artists who attempt to overcome their crippling perfectionism with the help of an enchanted hand puppet. But what will their pursuit of a groundbreaking show cost them?

Soot is the funniest of the four stories, due to impeccable physical clowning. Bing, Bang and Bong are the most over-the-top theatre brat cliches you can imagine, and Richard Mealey is delightfully outrageous as he tumbles around the stage as a humanised Soot. Fortunately, the comedy doesn’t smother the show’s strong, clear message. The risk of becoming too wrapped up in your imagination is relatable for any creative type and our three lead actors – Liliana Braumberger, Ben Fox and Kate Weston – know when to inject genuine fear and despair into their largely comical characters.

Twist of Fate Season 6(66) is a strong instalment that encapsulates this anthology’s ability to inject familiar genres with a refreshing, human-focused pathos. The four scripts tonight are a perfect balance of laughs and terror. Here’s to another year of Twist of Fate.

To book tickets to A Twist of Fate: Season 6(66), please visit https://www.eventfinda.com.au/2026/a-twist-of-fate-halloween-special/melbourne/carlton.

Photographer: Kieran McNamara, 3 Fates Media

Spread the word on your favourite platform!

Subscribe to What's The Show

Reviews, show news and what is on, straight to your inbox.