Mamma Mia!

Mamma Mia!

Mamma Mia! Rating

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What A Night . . . Mamma Mia never fails to entertain, and The Very Popular Theatre Company’s production was no exception. Set in the Greek islands, Donna is preparing for her daughter’s wedding with the help of her 2 best friends. Sophie, the bride to be, has secretly invited 3 men from her mother’s past in the hopes that she can meet her father. Chaos ensues as Sophie doesn’t know which of the men is her father, and each man believes they could be. This is a heartwarming tale of love, family and finding yourself.

Erin Cornell (Donna) played the fiercely independent mother of the bride with ease. Cornell’s raw and powerful vocals captivated the audience during the emotional arc of the second act ‘The Winner Takes It All’. Singing the first and last lines of the show, Emily Monsma (Sophie) radiates youthful energy and charm and it was impossible to keep our eyes off her for too long. Chloe Rose Taylor (Tanya) was a crowd favourite of the night. She was equal parts poised to perfection and feisty while giving off a real Gillian Anderson vibe. Jo-anne Jackson’s (Rosie) held the comedic timing for the trio, leaving the audience in stitches during ‘Take A Chance On Me’.

 

From their first scene together the ex-lovers, Sam, Harry and Bill are distinctively different personalities. They reminisce on their last visit with Donna and the island, and leave the audience wondering how long with will take each to realise they just might be Sophie’s Father. Matt Edwards (Sam) was a subdued yet strong leading male, and we genuinely felt his love for Donna the whole show. Timothy Aaron Cooper (Harry) played the character convincingly and sensibly. He did not feel a need to fall into the trap over overplaying as ‘camp’ to present his sexuality and this was refreshing to see in a portrayal of this character. Danny Folpp (Bill) isn’t just the adventure loving action man of the show. We get to see a shimmer of his insecurities that add so much depth to the character.

Lighting was, right from the first note of the overture, a noteworthy feature of the show. The set was stylish and very functional, the cast enthusiastically moved the set pieces, although scene changes could have been more efficient. The sound design was a rough mix in the first act with mic issues but was resolved for the second act. The pre-recorded backings or offstage booth overpowering the onstage performers in many numbers. Choreography was simple yet effective for the number of performers with the male part in ‘Lay All Your Love On Me’ being a comical highlight. Costumes were mainly casual beach wear to fit with the location. Donna and the Dynamo’s outfits were a gentle nod to the 70’s.

The ensemble was strong with quite a few local performers in the mix. Although unfortunately because the cast is so large we didn’t get the chance to see their individuality.

With 23 well known ABBA songs, and a mega mix to sing and dance along with, Mamma Mia is sure to be a well loved night for theatre goers of any age. Mamma Mia is running until September 20, 2026 at The Star Gold Coast, Broadbeach.

To book tickets to Mamma Mia!, please visit https://mammamiagoldcoast.com.au/.

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Macbeth: An Engaging, Modern Reimagining

Macbeth

Macbeth Rating

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1

Something wicked this way comes to Javeenbah Theatre – where fair is foul and foul is fair; Macbeth, directed and adapted by Brooke Edwards, is a bold reimagining of a timeless tragedy – set against the glitz and grit of mid twentieth century Las Vegas. Drawing parallels between Macbeth’s unhinged ambition – and ultimate downfall – with the destructive nature of gambling addiction, this layered and lively retelling is certainly not Macbeth as you remember it from high school English class.

For the uninitiated, Macbeth follows the rise and fall of the titular character who – spurred by his wife and with the assurance of witches – commits regicide to ascend the Scottish throne. The misdeed unleashes paranoia and intense guilt – unravelling the nefarious plan and ultimately Macbeth himself – before order is restored by the rightful heir.

One of Shakespeare’s shorter plays, this edit is tight and well-paced, running at around two hours. The play’s three key roles – Macbeth, played by Ethan Hough, Lady Macbeth, played by Samantha O’Hare and Macduff, played by Rory Impellizzeri – would each be at home on a professional stage. There is great chemistry between Hough and O’Hare in their scenes, each bringing animated, well-developed characterisations and a great sense of familiarity and connection with each other. Hough is a charismatic Macbeth who naturally draws attention, and O’Hare a nuanced Lady Macbeth, at once fiend-like – yet fallible. As Macduff, Impellizerri is compelling – also making a haunting impression near the beginning of the play in the additional role of Soldier. The combat scene between Macbeth and Macduff is a highlight, bringing the play to a dramatic climax.

 

 

The remaining ensemble performs with confidence and credibility; As Malcom, Ben Walton grows in stature throughout the performance, showing nice moments of emotional connection. Rob Kenna brings presence and propriety as Duncan and Siward. Bryce Berrell and Sol Buckley show vibrance and versatility in their multiple roles (with special congratulations to Buckley for performing Shakespeare in her second language!) with Rhyll Tedeschi providing an interesting study, especially as the morally ambiguous Banquo. Faith Moore-Carter, Hannah Collins and Marina Pennisi are each capable and commanding in their respective roles.

The cast handle the primarily Brooklyn-esque accents well, but there are times when the diction of the Elizabethan language is lost a little in accommodating that feature. The sound and lighting are creative – I especially enjoy the scene of Duncan’s death, and Macbeth’s monologues, although occasionally sound levels overpower the dialogue. The costumes look wonderful, with Lady Macbeth especially glamourous, in addition to effective set design. I enjoy the creative and immersive ways the theatre is utilised, with action occurring all over the space, not just onstage.

As with all community plays, acknowledgement is due to the entire production team and other volunteers who make it all possible. The collective efforts shine through here – J’bah’s Macbeth is an engaging, modern reimaging, exploring timeless themes, drawing interesting parallels with a social scourge, and reminding us that all that glitters is not gold. Highly recommend.

To book tickets to Macbeth, please visit https://javeenbah.org.au/playbill/macbeth/.

Photographer: Buttery Smooth Images

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If You’re Hearing This

If You're Hearing This

If You’re Hearing This Rating

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Ally Morgan is a new kind of supernova performer. In her 2026, Melbourne Comedy Festival show, If You’re Hearing This, she swoops us up and takes us on a whirlwind tour for the ages.

Morgan starts her show with a burst of optimism and the idea that things out there can be really, really good, even when they are clearly not that good at all on home soil. She’s fashion forward in a suit that is halfway between a NASA 1950’s one and something that the babes from Wet Leg might wear, showing her preparedness to get down and rock her world with some serious songwriting and lyrical talent. Morgan’s departure from earth is on a fast paced countdown. She’s on a do it yourself mission to save herself from Armageddon. Planet Earth is in a right pickle so the logical thing to do is eject herself into the atmosphere and take a chance — interplanetary Survivor style.

There, in the outer limits of space Morgan finds she has a lot of time on her hands so what better way to keep her sanity and her cool zeitgeist narrative alive than by doing an up to the minute broadcast over the space airwaves — even if no one’s listening. Her set is simple but effective. She knows how to transform a space. Musical instruments, a keyboard, a DIY screen, a squishy gold helmet and she’s away.

 

The brilliant songs allow Morgan to address all sorts of crisis points and her talent and skill in nailing where we all are right now lies in leaving no stone unturned. She pans manosphere podcasters, references the lost innocence of the early 2000’s, and employs visual gags from major film makers to billionaire asshats, as well as giving us a running commentary on news and politics. Morgan sings folk tinged songs that Joan Baez would be proud of. Her songs are at once poignant, hilarious, urgent and ironic. Her transitions from mother earth guardian, to digital information purveyor includes themes on life and death; the point of relationships and human connection; the vagaries of big C, Capitalism; tales from her youth and neurodivergent ways of being.

She calls out the force with which man tries to destroy everything good and calls out her own ambivalence when called to action as well. If anything the themes are so wide reaching and profound that maybe a slight edit would serve the overall project? But Morgan sings, moves and delivers ballads as sweet as The Sundays juxtaposed with political fight-the-power style black and white documentary narration that nevertheless ignites us all. She asks us to think deeper about how we got to a time when a girl who just wanted to have fun lost all that in the Black Mirror-esque way we live our lives now.

Morgan shows us that even though innocence has been washed away by a zillion screen time hours and the “encyclopaedia” of ChatGPT use, that in fact, love is still what humans want. It’s a very savvy well written show filled with modern day ennui. But is anybody really listening? Is Morgan just screaming into the void? Will she ever be saved? Her teabags and fuel are running low and she’s scared and utterly alone…well, for a while at least.

To book tickets to If You’re Hearing This, please visit https://www.comedyfestival.com.au/browse-shows/if-you-re-hearing-this/.

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Ireland The Voyage

Ireland The Voyage

Ireland The Voyage Rating

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18

From the producers of Celtic Illusion, comes a powerful new theatrical experience in Ireland: The Voyage, an epic celebration of Ireland’s history, heart, and heritage brought to life through authentic voices, live music, and world-class Irish dance. Emotional, exhilarating, and deeply immersive, Ireland: The Voyage invites audiences to feel the pulse of a nation – it’s triumphs, its tragedies, its music, and its unbreakable spirit, in a live experience you will never forget!

I was fortunate to be able to delve into this world of all things Ireland currently touring around our country.

Firstly, in my years in dancing (over five decades) I’ve only ever seen Irish dancing twice in my life before (shameful I know!). Once at a high school talent show, and once when I organised a display floorshow at one of our dance fundraisers (everyone commented afterwards how good it was).

This style of dance has sustained as entertainment for decades in theatres around the world, on cruise ships, feature festivals and more. And certainly now I can fully understand why. Whether or not you are Irish, love Irish dancing or music, or just enjoy any stage performances generally; Irish vibes are contagious and captivating!

This show however is much more than just an Irish jig to a whistling tune; it is a real journey of shared stories, history and spirit.

 

 

We learn in detail from our host Giselle about the interesting Irish instruments being played in the traditional Irish band, which remains in full view throughout the show on stage. Each band member is also introduced by name with a little of their Irish background and musical accomplishments. They are all simply brilliant musicians and together bring this show wholly to life.

Irish songs sung both in English and traditional language by Giselle O’Meara are truly unforgettable. Her superior voice carries off each and every note like a fine instrument you could easily listen to for hours. Not loud and showy, but gentle and sweet; welcoming and inviting us to just enjoy!

I closed my eyes a number of times purposefully to listen and take it all in. Not only am I learning along the way about Ireland, a place I loved visiting 25 years ago, I am growing a great appreciation for this music and sound.

Shining stars are evident in the Irish dance champions – a trio mesmerize us with unbroken unison of speed and grace, extraordinary flexibility and control in traditional Gaelic; skillful solo features of rapidly increasing intricate footwork are an honour to witness, and later in the show we will clap along to particular beats in joyful harmony encouraged.

This beautiful show was such a lovely relaxing night out, and my Mum who came with me went home to try and find the great Irish love song ‘Grace’ to add to her playlist.

Thank you so much to the cast, musicians and team at Base Entertainment for this chance to broaden my knowledge of Ireland whilst at the same time tapping my foot along to some incredible music and songs from this voyage on stage transporting us all in the lucky audience to the Emerald Isle afar.

Ticket link: https://www.irelandthevoyage.com/

INSTAGRAM: @ireland_thevoyage

Tour includes cities and towns all over Australia and New Zealand.

Cast:
Giselle O’Meara (Champion Irish dancer and former lead vocalist for Michael Flatley’s global phenomenon Lord of the Dance Arena Tour)
Sara O’Hara (World Top 20 Irish Dancing Championship)
Liam Mcweeny (former quadruple Australian National Champion Irish Dancer)
Corey White (runner-up Australian International Oireachtas)

Musicians:
Tim Gleeson (guitar and Irish drum, the bodhrán)
Cormac O’Hanlon (concertina)
Ciara McGoldrick (low and high pitch whistles)
Muireann O’Dwyer (harp)

To book tickets to Ireland The Voyage, please visit https://www.irelandthevoyage.com/australia.

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