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No Love Songs: Poignant And Impactful

20 March 2025 Cherelle

No Love Songs Rating

★★★★★

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“No Love Songs” was my first visit to the newly opened Foundry Theatre located inside The Star Casino’s glamorous building. The quaint size and layout of the theatre creates an immersive and intimate experience for the audience and I look forward to spectating many more shows in this fabulous new venue. The acoustics and viewing would be fantastic from any seat in the theatre which makes it, in my opinion, a very inviting theatre.

The “No Love Songs” musical is based on the book written by Laura Wilde and Johnny McKnight which was inspired by real-life experiences of Kyle Falconer and his partner Laura Wilde. The featured songs are written by the musician Kyle Falconer.

The musical stars the incredible Keegan Joyce and Lucy Maunder and is co-directed by Andrew Panton and Tashi Gore. Music direction is expertly provided by Mark Chamberlain.

“No Love Songs” is a harmonious Yin and Yang balance of grief and joy, sublimely written to strike the audience with the juxtaposition of tears and laughter. The script is superbly written with natural flowing dialogue and a generous sprinkle of witty comedic gags, all of which were delivered impeccably by the stars Lucy Maunder and Keegan Joyce.

The script delves deeply into themes of depression, loneliness and relationships. It highlights the importance of bringing light to the hardships of parenting and in particular post natal depression. Shedding light on these ‘once unspoken’ topics, yet still not spoken enough about, is vital for urging more conversations, actions and reassurance.

The writer has truly achieved a very natural realistic depiction of struggling young parents in their personal relationship together and with their child. I’m certain most can relate to the struggles couples face: keeping in combined rhythm, picking up the missed beats for each other and being cautious not to drop the drumsticks altogether into a fathomless pit of no return.

It was a stellar performance by Lucy Maunder and Keegan Joyce, two immensely talented industry professionals. The acting diversity of both is applaudable and easy to understand their great successes to date and undoubtedly in the future. They delivered unfaltering honest character portrayals coupled with brilliant vocals and musicianship. Neither could be faulted in their brilliant hard hitting performance. Their casting was a commendable choice and they admirably portrayed a convincing real-life couple.

Staging, costumes and props were minimal which felt authentic to the script. Unnecessary props and elaborate staging would have likely depreciated the poignant impactful themes. The music may not leave you singing as you leave the theatre or asking Google to play the soundtrack but I don’t feel like that was the intention. The obvious intentions of the “No Love Songs” musical is to be conversation striking, thought provoking and impactful and these intentions are mastered to perfection.

No Love Songs is on tour around the country. For date/time sessions for your local area and to book tickets to No Love Songs, please visit https://www.nolovesongs.com.au/.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Cherelle

Villanova Players Present: The Great Gatsby

17 March 2025 Calliope Skye

The Great Gatsby Rating

★★★★★

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F. Scott Fitzgerald’s The Great Gatsby has been adapted into a riveting stage play by Simon Levy, and Vivien Broadbent directed this showing by the Villanova Players.

The set, simple yet elegant, consisted of a wooden balustrade upon some theatre blocks center stage. To the right and left were chaise lounges with layers of blankets, each removed for the relevant scene. Lamps upon side tables complemented the themes well, along with the frequent use of a drinking tray wheeled in and out of scenes.

The costumes, beautifully fitting for the chosen era, made each scene more eye-catching than the last. Actors were adequately styled, pairing 20s-style makeup and hairstyles with amazing dresses, suits, and headdresses. This was especially evident in the party scenes and dance routines, where we saw a lot of movement and expression. The colours, composition, and touch of sequins add a charming flair to each moment.

The jazz singer (Emma Hodis) and short dance routines also added to the show, bringing Gatsby’s parties to life and facilitating transitions between scenes. While some of the routines could use light polishing, the choreography utilized the entirety of the space, creating shapes that engaged the audience. This can be seen in one of the early scenes when Gatsby and Nick are on a plane. Holding the shape of the plane, the dancer’s contribution added fun and flair to the scene. Similarly, they gather around Gatsby’s car in one of the garage scenes. Their use of comic relief helped the audience connect with them and eased some of the tension throughout. It was wonderful to see how the cast was brought together in such a creative and dynamic way.

For those cast in the leading roles, Hayden Parsons (Jay Gatsby), Lachlan Gregory Hugh (Nick Carraway), Hannah Kennedy (Daisy Buchanan), Oscar Kennedy (Tom Buchanan), and Isabelle Arthur (Jordan Baker) had great chemistry. Parsons’ portrayal of Jay Gatsby was highly compelling. He captured the emotional depth and yearning that one would expect from a man awaiting his Daisy—a role that some would find difficult. Parsons made it look effortless, giving a seamless performance.

Hannah Kennedy’s perspective of the girl who got away allowed the audience to see the enthused, wistful Daisy in her most raw and honest state. From her mannerisms to the tone of her voice, Hannah also gave an amazing performance, elegantly drawing focus and embracing every scene with grace and professionalism.

The roles of Jordan and Nick were notable, too. The monologues and one-on-one interactions highlighted the emotional layers and inner turmoils they both faced. Hugh’s final monologue was a favourite, elegantly highlighting Nick’s inner struggle as he mourned his friend and grappled with the moral dilemmas he had been swept up in. I am eager to see where Hugh’s career leads, should he pursue it professionally.

Oscar Kennedy’s portrayal of Tom Buchanan was impressive and appropriately conveyed the depth and building tension expected in such a character. At the show’s peak, the confrontation scene between Tom and Gatsby was especially engaging as the pair verbally sparred in front of their friends. The feelings of denial, resentment and turmoil were palpable. I was thoroughly impressed by the way Kennedy explored the highs and lows of Tom’s character and look forward to other works they pursue.

The use of PowerPoint slides proved to be a valuable tool, as the sound and media team used them to supplement scene changes and offer symbolism during monologues. The lighting was appropriately assigned to each scene, aside from what seemed like a momentary blackout during one of the final scenes (the car crash). This scene was also accompanied by sound effects, with the intent to add to the scene. The 911 call recording, however, felt somewhat out of place for the period.

A prior scene, the driving scene in Gatsby’s car, could have benefited from light engine or background sounds, within the knowledge of how loud the cars of the period tended to be. That said, perhaps the director intended the dialogue to be the focus rather than the effects. Overall, the team working behind the scenes did an amazing job and kept up well with the various demands of their roles.

A wonderful night out and a thoroughly enjoyable show that I would recommend for ages sixteen and above, noting some of the few potentially triggering moments (implications of DV, murder and suicide).

Congratulations to the Villanova Players for a fantastic show! The Great Gatsby runs for one more week with sessions:-

Fri 21st Mar @ 7:30pm
Sat 22nd Mar @ 2pm
Sat 22nd Mar @ 7:30pm
Sun 23rd Mar @ 2pm

To book tickets to The Great Gatsby, please visit https://www.villanovaplayers.com/plays/the-great-gatsby.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Calliope Skye

Popcorn Popped Off!

16 March 2025 Amanda Harrison

Popcorn Rating

★★★★★

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Popcorn is a satirical black comedy by Ben Elton that proudly makes social commentary while generating many laughs. Directed by Aaron Evans, this production elevated the cynical lens through which we view Hollywood, with inclusions that maximised the laugh factor.

Set in the 90s, we follow the Mall murderers Wayne and Scout as they commit a home invasion of a famous director whose movies mirror their crimes. Tensions escalate and the debate is had, who is responsible for inciting violence, is it the movies that aggrandise it in the first place? With a 90s video rental store inspired set, and soundtrack to match we are easily transported back in time.

Masterful direction meant that the sexual content and violence was handled in a mature and modest way that did not compromise the meaning of the play, or cause extra discomfort for the audience. However, this was in no way an easy ride with tough questions being asked and moments of shock surprising all.

Brittany Bell played the leading role of Scout, the ditzy fun-loving killer girlfriend of the crime couple. Her performance shone through, bringing moments of vulnerability and heartbreak when Wayne (Her Boyfriend) manipulated and controlled her. She also displayed fantastic range, showing us her viciousness when taking control of the situation, and also often providing comedic relief. Bell’s performance was the stand out of the production and she should be highly commended.

Jack Barret brought much energy to the stage in the role of Wayne, commanding the room with intensity. Jack’s take on the character was more aloof and angry than menacing but had great commitment to the role. Michael Civitano played Bruce Delamitri, a Quentin Tarantino like director. Michael brought large amounts of enthusiasm to the stage, often conveying the incredible frustration felt by being the ‘man in the spotlight’. Jason Nash and Robin Vary played well off the cast and had fantastic characterisation in their supporting roles.

Vicki Dwyer breezed through her role as Farrah, the drug-addled soon ex-wife of Bruce. She was excellent, and had great energy which was all channeled into upholding the drunken and selfish personality of her character. The cast generally had a very energetic performance, and great characterisation.

The use of lighting was fantastic, allowing us to flow in and out of news reports, tv segments and drug fueled raves in the mansion with creative use of spots, RGB and blackout. The costume design should be commended for really individualizing each character with a unique style while remaining period accurate.

Overall the performance was well polished and the enthusiasm from the cast was palpable. In the future it would be lovely to see a push for character depth over archetypes in the staging of more black comedies at Ipswich Little Theatre, and the continuity of focus on comedy as this was done well. The entire cast and crew should be commended on a successful show.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Amanda Harrison

Every Note Speaks What Words Can’t

15 March 2025 Faith Jessel

No Love Songs Rating

★★★★★

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What is it about a love song? It awakens something in us we can’t put into words. Love is the ultimate subject—it defines us, moves us, and makes us count. It comes in many forms, each as complex and transformative as the next.

Through bold storytelling and evocative melodies, No Love Songs swiftly shifts from the thrill of a new love to the profound, painful reality of losing yourself within it. Overflowing with enormous compassion and warmth, it delves into the raw intricacies of identity, relationships, and loss.

Inspired by the real-life experiences of co-writers Laura Wilde and her partner Kyle Falconer, the show draws from Falconer’s second solo album, No Love Songs for Laura (2021). Co-written by Johnny McKnight, delves into the relationship dynamics between Lana, a new mother, and Jessie, a songwriter at a crossroads. Beyond exploring career ambitions and new parenthood, it fearlessly addresses the often-unspoken challenges of postnatal depression. While this may seem like a confronting topic (and it is) the show’s heartfelt authenticity and humour make it both engaging and ultimately hopeful.

The success of this show hinges on the power and skill of its two actors, who bring a deeply personal journey to life through a duologue of contrasting perspectives that navigates the complexities of parenthood. Through soliloquies and inner monologues, the audience gains insight into their internal struggles, highlighting the deep yet often amusing gap between what they feel and what they express.

An undeniable spark lit up the stage whenever Keegan Joyce and Lucy Maunder performed together. Opposites truly attract—Joyce’s self-effacing, endearing charisma perfectly complemented Maunder’s bold, brassy power. Both hit every note effortlessly, their palpable chemistry making each moment feel relatable and electric, leaving me to wonder if they were a couple in real life.

The Foundry is the perfect new space for this inaugural musical – intimate enough to capture moments of stillness, yet expansive enough for the vocals to soar. The minimal yet impactful musical accompaniment—guitar, keyboard, and percussion—acts as the third character, subtly deepening the emotional layers of the story without overshadowing the intimate moments. The songs were catchy, not Top 40 hits, but expertly crafted to integrate and enhance the narrative. At times, the atmosphere strayed into rock opera territory, amplifying the intensity but there were also poignant, quieter moments that could have been pared down just a bit to sustain the overall momentum of the performance.

What stood out most was that Lana and Jessie felt like real people, pouring out their hearts, songs, and stories while stumbling through a world full of challenges beyond anyone’s full understanding or control. Their dynamic felt less like a performance and more like a confession.

As the audience shuffled out, an elderly gentleman turned to me—a complete stranger—his voice heavy with emotion, and said, “I now understand what my mother went through.” I paused, absorbing the weight of his words, and replied, “Me too.” At that moment, it became clear why Wilde and Falconer wrote this show.

Postpartum depression remained a taboo topic until the late 20th century, with stigma lingering despite growing awareness in the 2000s. This story has rarely been told publicly – let alone shared on stage- but it resonates powerfully across generations. By sharing these deeply personal experiences, we help others, and ourselves, to connect, heal, and feel less alone. When there is no villain, no antagonist, no clear balance – sometimes, that makes both life and theatre equally difficult and beautiful.

This is not your usual escapist musical filled with hearts and roses. It’s an aching, engrossing love letter to the messy, wonderful, awful chaos of being human. Great stories unravel hearts and open minds. Raw, cathartic, and unflinchingly authentic, No Love Songs delivers just that.

No Love Songs is on tour around the country. For date/time sessions for your local area and to book tickets to No Love Songs, please visit https://www.nolovesongs.com.au/.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Faith Jessel

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