Linda Lokhee🏆🥇🦉

Author badges: 🏆 Most Prolific Reviewer of All Time (68 reviews), 🥇 Gold Reviewer (68 reviews), 🦉 Veteran Reviewer Linda Lokhee is a dedicated primary school and special education teacher, a picture book author and published poet. She has written two children's books. Her debut book, The Sock Monster features a loveable but misunderstood purple sock monster named Ike. In The Night Noise, the main character is a very brave girl heroine named Quinn, as well as a loved furry Australian animal. Ike and Quinn are Linda's book babies! Her poetry book for adults is called Scattered Syllables. Linda loves experiencing all the different aspects of Australia's independent creative arts, and especially the visual and musical elements of live theatre. She enjoys being part of the Whats The Show reviewer team, writing reviews since July 2023. Her website is www.lindalokhee.com.

The “Calendar Girls” Idea Takes Off, More Than Expected!

26/02/202623/02/2026 Linda Lokhee🏆🥇🦉

Calendar Girls Rating

★★★★★

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The Lane Cove Theatre Company’s production of Calendar Girls was absolutely delightful, where fresh “sunflowery-goodness” shone from the stage via the actors! Although the play has a serious undertone, with one of the character’s husband, John (Darren Gibson) passing away from leukemia, Director, Light and Sound Designer Kathy Petrakis led the company towards showcasing an inspiring story which evolved into a powerful celebration of a group of women. The story highlights their bravery in stepping beyond their comfort zone along with the unbreakable bonds of friendship.

Based on a true story, Calendar Girls opens with a group of mature women attempting to do a yoga class, led by Chris (Michelle Bellamy), which dissolves into teasing each other. The audience quickly sees the easy-going friendship between these women, who meet regularly in Yorkshire at the Women’s Institute.

When the unthinkable happens and John falls sick, diagnosed with leukemia, his wife Annie (Anita Lenzo) is devastated. Having been previously viewed as a bright and positive presence on stage, Gibson’s portrayal of his character John struck me deeply, as he convincingly shrinks into his former self – sitting in a wheelchair and speaking weakly- evoking a powerful emotional impact.

When he passes, the way this is told was respectfully done, with writer Tim Firth ensuring that John’s legacy and wish for his loved ones would be like his favourite flower, the sunflower. The line “the last phase of the sunflower is the most glorious” appears to live on as a blessing. So begins a heartfelt mission to raise money for leukaemia research and to improve the relatives’ waiting room in the hospital by replacing an old uncomfortable lounge.

Chris and Annie come up with the idea for their group of friends to pose nude for the upcoming WI calendar, and it takes some convincing for the others to agree. Bellamy’s portrayal of outgoing Chris was noteworthy, and she showed the vulnerability of her character as well as her fierce strength. Lenzo playing the grieving widow Annie, was acted with heart and a quiet determination.

Each of the women were given props to use in their photo shoot. I won’t give any spoilers away, except to say that how the photo shoot was done, was in equal parts both tasteful and hilarious! I would imagine that this task of having a live “nude” photoshoot onstage would have been a challenge, so well done to the cast and crew. The audience loved this scene!

Blake Nicholas, portraying the calendar’s photographer Lawrence, and later toward the end of the play, another photographer named Liam, gave strong performances as both. Pauline Garner’s character Marie gave her the opportunity to showcase her comedic flair as the uptight head of the WI Yorkshire branch, particularly in a scene where she is playing a game of badminton with Ruth.

What I really liked about Calendar Girls was that each woman in this friendship group had a story to tell and the actors brought their own character’s individuality and quirky personalities to the forefront with sleek nuances and body language. No single character was “the star”. I think that this united the audience closer to the characters. Janette Chambers brought her musical and singing background to the stage playing the confident church organist Cora, the Vicker’s daughter, with spunk! Jessie was played with a twinkling cheekiness by Karen Firmstone, and her delivery of a certain line during the calendar photo shoot had the audience in bouts of laughter. Georgina Philpott, who played Celia, nailed her character’s vibrant personality well. Josephine Birch’s character Ruth had a wide scope of emotions due to her situation which played out as time went on, and she portrayed Ruth’s fragility to strength perfectly. The Yorkshire accent is a difficult one to master, and I’m sure that the cast will continue to polish this distinct accent as the season unfolds.

Calendar Girls felt authentic, in a way that only a well written true story can. The ending was a tribute to people who have been affected by cancer and it was moving and respectful. When we were told the end fundraising total for the “WI Alternative Calendar”, I left the theatre feeling hopeful and impressed by the strength of community and the power of lasting friendships. If you want to feel this way too, combined with a few belly laughs, go and see Calendar Girls in Lane Cove!

Tickets: www.trybooking.com/events/landing/1508641
Duration: 2 hours with interval
Season: 20 February – 1 March 2026
The Pottery Lane Performance Space
1 Pottery Lane, Lane Cove NSW 2066
(There is onsite parking, for free after 6pm)

To book tickets to Calendar Girls, please visit https://www.lanecovetheatrecompany.com.au/.

Photographer: Jim Crew, Lane Cove Creative Photography

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Red Herrings and Sinister Secrets – Agatha Christie’s The Murder of Roger Ackroyd

20/01/2026 Linda Lokhee🏆🥇🦉

The Murder of Roger Ackroyd Rating

★★★★★

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Agatha Christie was a prolific author, one of most well-known novelists in history. (In fact, she is considered the third best-selling author of all time, behind William Shakespeare and the Bible) Her 66 detective and 14 short story books have sold over 2 billion copies.

When What’s the Show sent me to review “The Murder of Roger Ackroyd”, I was looking forward to seeing the performance. Adapted by Philip Grecian, directed by Ali Bendall and presented by the Genesian Theatre Company, the play delivered a performance that would make Agatha Christie smile. It was a great choice to have as the first Agatha Christie play in 2026 at their new home in Rozelle.

The Murder of Roger Ackroyd is a play with a large cast. There are fourteen characters played by thirteen people. The first act of the show was dialogue heavy and had me playing catchup with Who’s Who. By the intermission though, I had a grasp on the relationships between the characters. The layout and design of the program was one of the most gorgeous I have seen – well done to the graphic designer. There was a Murder Mystery Bingo page for fun, a list of Possible Suspects and their role, and a Suspects / Motives Evidence Board which helped consolidate the characters for me during the intermission.

The play centres on Dr. James Sheppard (Nathan Moss), a local doctor in the quaint English village of King’s Abbot. He narrates the events surrounding the startling murder of the affluent Roger Ackroyd. A neighbour, known to Dr Sheppard’s sister Caroline (Roslyn Hicks) for throwing marrow over the fence, is the renowned Belgian sleuth Hercule Poirot (Peter David Allison). The famous detective known for his sharp mind and methodical approach becomes entangled in this mystery, even though he is retired. Through clever questioning and careful observation, Poirot works to reveal the real story beneath the surface, interviewing possible suspects and employing his “little grey cells” as he likes to put it, to lead the audience in a suspense-filled classic play.

Director Ali Bendall had the daunting task of creating a set with many different locations, and she successfully brought them all to the stage clearly with the use of lighting (Lighting Design by Cian Byrne) props (including a real antique Dictaphone) and variations in using the whole front theatre space. The cast were dynamically moving, including below the stage, in front and to the sides of the audience. The effect of this surprisingly brought the audience close to the action and encompassed us, making us feel a part of the story. Ali was also the Sound Designer and the ominous, dark music during the scene changes added to the whole atmosphere of mystery and threatening going-ons.

The script had some very witty moments throughout the show. Peter shone as bow tie wearing Poirot, the character delivering many lines and play on words which had us laughing. “The game is afeet!” “Hercule Poirot knows!” Roslyn as Caroline, the village gossip, held the audience from the beginning, her cheeky confidence as she bantered with her brother about all the happenings in the village was very funny. She is forgiven when she says, “I don’t pry things out of people!” indignantly, and then proceeds to ask personal questions to another character, indeed prying! John Parker (Peter Hoekstra-Bass) played The Butler who found the murdered Roger Ackroyd. On request from Poirot, his re-enactment with Ackroyd’s niece Flora Ackroyd (Jen Manoogian) was played with great over-enthusiasm, so much so that I thought, “John Parker has just discovered what he wants to do after he finishes his employment as a butler – acting!”

The cast and their British accents were impressive. Combined with Susan Carveth’s costume design, they put just the right emphasis on reeling the audience in and making us wonder who amongst these group of people was responsible for Roger Ackroyd’s death. Particularly during the second act, the red herrings were scattered everywhere, clues were looked for by me, and this became part of the game. It’s typical of an Agatha Christie novel – twisty, sinister secrets revealed slowly, blackmail, with a great ending. I won’t spoil the whodunnit, but when you see this play, (and you definitely should!), look out for the murderer’s pace and delivery – kudos to that actor, and to the whole cast.

The Murder of Roger Ackroyd is playing 16 January – 28 February 2026 at the Genesian Theatre. 2B Gordon Street, Rozelle.
Run Time: 2 hours 30 minutes (including a 20-minute interval)
Tickets: www.genesiantheatre.com.au/events/the-murder-of-roger-ackroyd

To book tickets to The Murder of Roger Ackroyd, please visit https://genesiantheatre.com.au/events/the-murder-of-roger-ackroyd/.

Photographer: Anthony Burns

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Those Life Changing Three Little Words – Elanora Players

17/01/2026 Linda Lokhee🏆🥇🦉

Three Little Words Rating

★★★★★

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Australian Playwright Joanna Murray-Smith’s choice of “Three Little Words” for a title about two couples’ friendship is an interesting one. Initially I assumed that those three little words alluded to “I Love You”. However by the end of the play I realised that those three little words could be interpreted as to whatever the audience thinks – and this was a very clever prelude to a witty script performed by four engaging actors from the Elanora Players.

Tess (Tracey Keene) and Curtis (Paul Sheldon) have invited their long-time besties for dinner on their 20-year anniversary. After reminiscing good naturedly about the many good times and the way they met, Tess and Curtis announce a bombshell in the form of three little words, “We’re Splitting Up”. Bonnie (Karen Oughtred) and her partner Annie (Chantal Harrison) are disbelieving and shocked. The shaking up of what they thought was an unbreakable bond between the four friends sets off a split between all of them, and we are witness to the devastation that unravels.

Tess wants to explore her own identity, apart from being a daughter, wife and mother and yearns for something other than domesticity. She is highly critical of Curtis’ occupation as a teacher (“overqualified and underpaid”) and is constantly irritated by her husband’s habits. Tess is a self-centred woman who desperately wants out of the marriage to see what she could evolve into. She believes that Curtis will be there for her afterward. Tracey portrayed Tess’ selfish character that was quite unlikeable very successfully to the audience.

Initially I found myself feeling sorry for downtrodden Curtis, with his gentle manner and complacency. However, his immediate behaviour following the separation sparks some controversy, as Paul effectively expands his character’s complexity by swiftly entering the dating scene to be with a significantly younger woman. His actions suggest that an amicable separation might be unlikely, and his pointed, hurtful remarks towards Tess diminish my sympathy for him.

The split is a catalyst for Annie, a masseuse and Bonnie, a high-end art dealer, to suddenly explore their own relationship. Bonnie’s warm and younger partner Annie, who feels Bonnie’s condescending words deeply, was played with a sweet, quiet strength by Chantal.

Karen’s character Bonnie had a mix of forthrightness and vulnerability. Kudos to Karen who held the stage with convincing conviction – Bonnie was a standout character to me.

There’s a recurring reference to and even a custody battle for Tess and Curtis’ tantalus, a wooden lockable stand, which holds whiskey and is inaccessible without a key, to keep it safe from children or from servants in the old days. This heirloom is a gentle representative of how Tess feels, alluding to the Greek myth of Tantalus, who was eternally tempted by food and water just out of reach.

Director Kerrie King’s set was simple and effective, showing two living rooms side by side, their own spaces represented and separated by the use of different coloured walls and furniture. Lighting designer Wayne Chee and Lighting Operator Thomas Van der Plaat highlighted the rooms and characters well, bringing attention to where it was needed. Sound Design and Operator Walter Opdam’s choice of music brought the right atmosphere to the play, especially with his choices of songs such as George Michael’s “Freedom” as Tess was dancing and singing on the couch, and a song I’d never heard about IKEA as Tess attempted (and failed) to put together something from IKEA, after boasting to her friends that she never wanted to have anything personal again!

“Three Little Words” is a portrait of the aftermath of a breakup, of how the dissolving of one couple’s marriage affects their friends unexpectantly. How the dynamics of situations change in ways that are unpredictable because we are human. It is certainly a thought-provoking play, but not a play that is completely sad. In parts yes, but this clever script was laden with so many light moments sprinkled in, delivered by the characters’ wry and quick dialogues which made me and the audience laugh often, and quite a lot!

I loved the Elanora Players’ production of Three Little Words! Perhaps those Three Little Words from the title may have been “I See You” or Annie’s wisdom of “It’s About Kindness”. Or maybe it is meant to mean something else altogether; the audience can make up their own minds and there is creative beauty leaving it like that.

“Three Little Words” run time: approximately 90 minutes, with a 20 minute interval
Jan 9 – Jan 17 2026 at North Narrabeen Community Centre, 2-10 Woorarra Avenue, North Narrabeen
www.elanoraplayers.com.au

To book tickets to Three Little Words, please visit https://elanoraplayers.com.au/.

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Brilliantly Emotive – Born on a Thursday at Old Fitz Theatre

14/12/202512/12/2025 Linda Lokhee🏆🥇🦉

Born On A Thursday Rating

★★★★★

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Every family is different and unique; there’s no such thing as a cookie-cutter ‘perfect family’. What we can hope for in our own families, are harmonious and happy relationships. Born on a Thursday is a heartrending peeling back of the tough exterior of a mother/ daughter relationship and the deep complications that can arise in a family unit. Presented by New Ghosts Theatre at the Old Fitz Theatre, and written by Australian playwright Jack Kearney, Born on a Thursday had me hanging on to every word these characters spoke.

April (Sofia Nolan), a ballerina who had been working abroad in Denmark for some time, returns home to Western Sydney to see her Mum and younger brother. Her mum Ingrid (Sharon Millerchip) greets her with open hostility. She is a tough woman and has her own reasons for freezing April out with sharply worded barbs and icy stares. It’s uncomfortable to watch, so I imagine that being on the receiving end, April feels it deeply. Millerchips’ portrayal of an overworked, stressed mother – harbouring resentment towards her daughter and ultimately revealing her own vulnerability – demonstrates her talent as a performer.

Isaac (Owen Hasluck) has a brain injury from a sporting incident. He is a young adult and highly dependent on his mum. Isaac is on the cusp of needing independence and feeling the frustration of being unable to communicate easily. The initial introduction onstage of Isaac was powerful. Hasluck portrays Issacs’ disability with heart wrenching accuracy with his mannerisms and muddled speech that manages to capture the depth of his character. Two scenes where he has a ‘meltdown’, one with his mum and the other with his sister, brought tears to my eyes and I am sure others in the audience felt the emotion too.

April’s reason for coming home is slowly disclosed over four seasons as the audience witness building feelings of guilt and responsibility. Nolan fully embodied her character, guiding the audience through her journey into her inner demons and the way to healing her raw pain.

Howard was played by James Lugton, Ingrid’s affable neighbour. His friendship to the family brought stability and the relationship is explored through his interactions with Ingrid, Isaac and April. Lugton’s portrayal of Howard was done with realistic characterisation, particularly in the tender moments, showing Howard’s heart of gold.

Although there are serious scenes in the play, there are also parts which were lighter. Ingrid’s friend Estelle (Deborah Galanos), a gregarious extroverted woman, brought humour (and wine!) to the stage and showed that our support network of best friends can be family too.

Sound designer Sam Cheng’s music, particularly when indicating the seasonal period when the months on the calendar on the wall were being flipped up, added to the thoughtful ponderance of change. Costume designer Rita Naidu and set designer Soham Apte grounded the characters to the time period of 1998 – 1999, with a kitchen straight out of the late 90’s – I even think I owned a stove and tea towels exactly like the ones that were on set! The set was impressive by having a tap with running water. Being an avid tea lover, I certainly appreciated the cuppa always being offered between characters, and especially Howard’s turning of the teapot ritual before he poured out the tea. The working stove where April made pancakes added the perfect 4D experience and the smell of freshly made pancakes wafting out to the audience was divine! It showed that during these simple rituals of everyday life, big conversations can happen during these times.

Director Lucy Clements has brought together a cohesive team that successfully treads the fine balance that’s needed when presenting a play dealing with mental health illness, domestic violence and traumatic brain injury. Born on a Thursday is a raw and impactful play that explores family, the true priorities in life, and the need to be seen and loved for who you truly are—both by yourself and by those who care for you. I highly recommend it to gain a glimpse into the lives of ordinary people with layered lives. Book your ticket and watch Born on a Thursday in one of Sydney’s most tiny and intimate theatres – the Old Fitz!

Season run: 28 November – 21 December 2025
Run Time: 2 hours 25 minutes with a 15 minute interval
Theatre: Old Fitz Theatre 129 Dowling Street Woolloomooloo
Tickets: www.oldfitztheatre.com.au/born-on-a-thursday

To book tickets to Born On A Thursday, please visit https://www.oldfitztheatre.com.au/born-on-a-thursday.

Photographer: Phil Erbacher

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