A fabulously funny, brand-new, all-Australian, all-woman, Vaudeville-styled musical comedy, DANGEROUS WHEN WET, splashes down in Sydney this October.
It celebrates the friendship and rivalry of swimmers Fanny Durack and Mina Wylie and the untold, true story of their fight to represent Australia and – ultimately – win Gold and Silver in the 100m women’s freestyle at the 1912 Stockholm Olympics.
Boasting an insanely talented all-female cast, this hilarious and touching show will have you laughing, crying, singing along to dangerously catchy tunes… and rejoicing in Sydney’s stellar swimming history.
Featured performers include burlesque legend Megan Walshe as Narrator Annette Kellerman, Hayes Theatre star Cypriana Singh as Fanny, recent NIDA graduate and rising star Grace Trainor as Mina, sweet-faced and powerful-voiced Addy Roberts as British swim champion Jennie Fletcher, drag-king extraordinaire Jacinta Gregory as journalist Cecil Healy (it’s not vaudeville if it ain’t got drag!), hilarious Annerose de Jong as sports entrepreneur Mrs Mack and opera diva Eliane Morel as misunderstood villain Rose Scott.
Developed over several years by award-winning creators Eliane Morel, Merran Hughes, Joanna Weinberg and Daryl Wallis (including a Randwick Town Hall ‘takeover’ creative development where it was described as ‘Better than Hamilton!’), this is a world-premiere you won’t want to miss.
DANGEROUS WHEN WET WHEN: 8 to 18 October, 2026 PREVIEWS: 2pm and 7pm, Thursday 8 October OPENING NIGHT: Friday 9 October WHERE: Randwick Town Hall TICKETS: $25-$100 BOOKINGS and INFORMATION: www.dangerouswhenwet.com.au Facebook: https://www.facebook.com/DangerousWhen Instagram: https://www.instagram.com/DangerousWhenWetMusical
For a relaxing Sunday afternoon, being immersed in the sounds of film and gaming music scores performed by the Ku-ring-gai Philharmonic Orchestra (KPO) was perfection. The choice of songs was varied, from the widely known “Star Wars Suite” composed by the legendary John Williams to other songs that I was not familiar with, such as Jeremy Soule’s “Song of the Dragonborn”.
The KPO’s deliberate choice of song order was clever, which took the audience on an emotional musical journey with ups and downs like a wave. The KPO alternated playing intense songs, then moved next to a quieter song, then back to a powerful piece.
A standout song was the meditative beauty “Benjamin”, originally from the ABC/ International film and television series, “The Hymns of the Forefathers”. Listening to this song live was quite special, as we were fortunate to witness the composer conduct his own piece. The song “Benjamin” was named after his three year old son. KPO’s Artistic Director and Chief Conductor Paul Terracini used his baton, signalling tempo and guiding the orchestra in all of the song performances, except this one. Instead, it was beautiful to see the love and depth of feeling he had for his own piece. He did not use his baton, he conducted with his whole body and arms, swaying to the tempo, and it was mesmerising to watch.
Before each performance, Terracini introduced each song with some background information on each composer and some information on the song. The KPO’s first song was the “Star Wars Suite”, and from the very first opening note, the power and precision of the orchestra created an exciting start. The “Imperial March” was played with perfect precision, with the sharpness of the trumpets, bassoons, trombones and tuba intermingled with the frenetic violins and full orchestration to create the menacing Darth Vader theme. This Suite arrangement displayed an example of the alternating powerful and gentle song format, with sweet and regal “Princess Leia’s Theme” following the boisterous main theme. The different tempo and soft beauty of “Yoda’s Theme” with the harp, and the grandiosity of the “Throne Room and End Title” contrasted with each other and conjured up scenes from this classic movie into my mind.
The magic of the KPO’s music continued with “Spirited Away Suite”. Joe Hisaishi composed for Hayao Miyazaki’s animated films from Studio Ghibli. I had seen the 2001 anime “Spirited Away” a long time ago and did not remember the music, so it was with curiosity that I began to listen to this suite. The piano infused a gentle and curious beginning with “One Summer’s Day” and as this song progressed, it shone of innocent wonder. The harp plucking represented the moon to me, in “Night Time Coming”, with a lovely lullaby. This was followed by “The Gods”, which had a dramatic element, with the percussion leading the effects in some parts. This suite featured lovely solos by harpist Kaela Phillips and Concertmaster Violin Lead Anne Marie Braid. The effect of a solo, and then the orchestra joining in was effective in creating a musically flowing journey for the audience.
After the interval, the KPO performed the soundtracks and music from “Song of the Dragonborn”, “The Elden Ring 2022”, “Spartacus”, “Benjamin” and ended with “Fellowship of the Ring Suite”.
Japanese Composer Yuka Kitamura’s “Elden Ring 2022” theme was arranged by Jonathan Shaw and was a very strong and powerful piece. Beginning gently, the quick metamorphosis into a highly dramatic theme, with the brass, wind instruments, violins, percussion and metallic percussion gong’s calling was impressive.
“Spartacus”, was composed by Aram Khachaturian. This song was written for a ballet in 1954, and the retelling of a Thracian gladiator reuniting with his wife after she was captured, was romantic. The middle part of the song hinted at a shadowed darker time, and the echo of a call and response of the orchestra was instrumental in building the dramatic intensity to a crescendo. The ending of the song relayed the couple’s tender love, as the tempo calmed and the lead violinist brought the story to a peaceful end.
Jeremy Soule’s “Song of the Dragonborn” played next and began in the Dragonborn’s ‘tongue’ – shouts which are heard alongside the horns and violins and were an effective way to introduce the mood. This was an uplifting and courageous song and in some parts it lifted my imagination skyward. This was a very regal song utilising strong brass and percussion to create a mediaeval themed mood.
“The Lord of the Rings: Fellowship of the Ring Symphonic Suite”, arranged by John Whitney, was the last piece the KPO performed and was a wonderful piece to end on. Composer, conductor and orchestrator Howard Shore’s film scores have earned Academy Awards, Golden Globes and Grammy Awards and this suite, beautifully played by the KPO, showcased his talent. The LotR suite included distinct sweeping movements for different character themes. Most notably, the heavier colours during one part came through with sharp precision with the brass and percussion, and then was contrasted with the piccolo, flutes and strings for lighter moments.
The talented musicians from the the Ku-ring-gai Philharmonic Orchestra, led by conductor Paul Terracini created a magical afternoon. This was an encompassing musical journey into the imaginative world of make believe worlds of film, animation and gaming. If you are a music lover, you must listen to a live KPO performance in the future. There is a free community concert called Nothing is Forever, on September 20 2026 at the Turramurra Uniting Church.
Spirited Away Movie and Gaming Music was performed at The Concourse Concert Hall in Chatswood. Time: 2 hours with a 20 minute interval.
Last night I had the pleasure of witnessing Harlots by the New Ghosts Theatre Company at the intimate Old Fitz Theatre in Woolloomooloo. It was a fantastic production by an all-female and non-binary team and cast. The show was an immersive experience, taking place in and around the audience, with the stage utilised to its maximum capacity. Directed by Janine Watson, the play sucked me into its world and spat me out again 90 minutes later.
The denigrating term ‘harlots’ has been reclaimed by writer and producer Emma Wright in this critique and love letter to Shakespeare. Having studied one Shakespeare play per year throughout my six years of high school, I was excited to see the women from his work get more time in the spotlight. The work explores what happened in the time between his female characters faking their deaths and re-emerging with their names cleared (Hermione in The Winter’s Tale and Hero in Much Ado About Nothing)… The play depicts freedom in the form of an underground society of women whose values were love and healing. How ironic that these women had to “die to live” and a hole in the ground provided more freedom than society’s shackles. The characters explore the healing powers of psychedelics and working through trauma in a supported environment. Madness and the role of violence in society are called into question, can these things be escaped or are they inherent?
Each and every one of the cast played their role sublimely. They were all equally impressive and distinct. Jo Downing’s portrayal of Beatrice was a marvel. Ella Prince was a powerful Helena; I loved their abrasive mannerisms that boycotted the idea of traditional femininity. Hannah Waterman and Megan O’Connell had incredibly complex chemistry on stage as Paulina and Hermione. ‘Ana Ika was a dreamy Ophelia and Madeleine Li’s monologue at the end of the play as Hero will be something that stays with me for a long time.
The set design (by Kate Beere) was simple yet effective, inviting us into the women’s underground world of mushrooms and rest. The costumes (by Aloma Barnes Siraswar) were beautiful and thoughtful. I loved the attention to detail of the mushrooms growing on Hero and Hermione’s dresses for their underground lives. The lighting (designed by Luna Yuet Yee Ng) and music (composed by Clare Hennessy) helped indicate villainy and different states of consciousness.
Being a Shakespeare inspired work, I was worried that I would find it hard to follow (especially after a day at work). However, the script was intelligent and engaging without being too much hard work for our 21st century technology addled brains. True to form, the script dipped between verse and prose, masterfully using iambic pentameter to challenge status. I loved the references to other canonic literature and the idea that the women that Shakespeare wrote would be well-read and learned.
The audience was captivated, with the occasional giggle at a provocative line and well-deserved, sustained applause resonating long after the cast had left the stage. I highly recommend seeing Harlots, it was an entertaining, provocative and thought-provoking exploration of some of Shakespeare’s lesser known heroines. Showing until 6 September in Sydney.
“What I want to be when I grow up? Happy!” said Thomas Klopper, aged ‘nearly 10’. The audience was young and old and instantly charmed by Thomas played by a grown up Matthew Whittet. We were let into his imaginary world of tropical fish in the canal, his joy of reading and talking to a very present and comical Jesus (John Leary). He is also part of a post-war family dealing with just about everything.
The set of a giant book that was opened and re-opened with dreamy cartoon-like scenes was another character that took on a life of its own and provided a backdrop to each event. A musician (Jack Ward) playing music beautifully, added emotion with a range of instruments providing a childlike understanding of life and sound. The cast members also contributed to the ‘soundtrack’ by playing instruments themselves.
We were engaged within five seconds being brought into the world and gentle naivety of children pushing back the past dark war years and its impact on what is left of life. The script (Guss Kuijer) is full of witticisms and the audience responded with laughter and joy. The team of Richard Tulloch, Neil Armfield and Kim Carpenter produced a play that was delightful, funny, thoughtful and uplifting. This play, which addresses serious themes skilfully balanced with humour, is highly recommended for the young and young at heart.
Thomas’ father (John Gaden), a dry, deeply religious and angry man, his mother (Claire Jones), a weary and loving mother and Margot (Rebecca Massey), a sprightly teenager coming into her own, form a family living in Amsterdam and dealing with family secrets. On the sidelines is the observant neighbour, Mrs Van Ammersfoort, (Julie Forsyth), with the look and panache of the neighbourhood witch but who is really a war resistance survivor. Aunty Pie (Pamela Rabe), rebels by wearing trousers and Eliza (Bridie McKim), is Thomas’ love, despite being 16 years old and having a leather and hinged leg.
The lesson is about kindness and how Thomas’ gentle and whimsical heart breaks open the community as he desperately tries to resolve his father’s violence towards his mother. It is a journey of discovery around loneliness, fear and finding a sense of self. As each character breaks open, new life reveals itself and in a childlike manner, the adults discover their innocence and desires.
Audience participation was included with one hilarious action and young people are invited on to the stage. Serendipitously, a large group of schoolboys was in the audience and they bounded down the steps to joyfully join the cast and be ‘nearly 10 years old’ again. They took a group photo after to celebrate. And that was what the play was about; the celebration of kindness, innocence and people’s dreams, even if all it really amounts to is being happy.
