She Works Hard For (No) Money: A Reality Delivered With Precise Hilarity

She Works Hard For (No) Money

She Works Hard For (No) Money Rating

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She Works Hard For (No) Money is an ode to the superheroes in our lives: the women that make magic seem real when everything is miraculously taken care of.

Handled with precise hilarity, She Works Hard For (No) Money showcases the unspoken reality of women carrying the mental load of getting things done and sacrificing themselves to keep everyone a float; while juggling everyday pressures and endless labour.

Framed within dark humour, the interactive production thrusts the audience into the throws of the play. Immediately welcomed to ‘the office’ by members of the ensemble, the audience is escorted through different checkpoints until reaching the heart of the performance area. Once seated amongst props and intriguing stage blocking, viewers become immersed in the narrative’s drama.

Through boisterous scenes that establish the satirical tone of the show, the audience are shown depictions of women and men moving through everyday events (whether in the domestic sphere or workplace). The women perform activities where the men continually showcase their intentional (or unintentional) incompetence; highlighting the extra pressure women endure daily through expected gender roles and responsibilities.

 

 

Despite the humorous atmosphere, there are moments where the audience are brought to a halt for reflection. The tone of the narrative shifts from sentimental to melancholy, as the ensemble brings to life the unfair truth of work within the workplace being legitimised, or viewed as ‘real work’, over labour within the home. The devastation of these carefully crafted scenes presents the core message of the play with a breathtaking swiftness that causes the audience to reflect on how things can, and should be, improved within their own lives.

The ensemble of She Works Hard For (No) Money were meticulous with their performance; showcasing their skills with seamless transitions between characters and scenes. The writer and producer, Samantha Hill, director, Julie Ritchey, and crew handled the sensitive nature of the play’s themes with a precision that validated the experiences of countless women. The acknowledgment of the ‘not all men’ discourse was also conducted in commendable manner that brought the conversation back to the issue at hand; that we are here to give women a voice, for it is long overdue.

Although the heavier moments of the play invoke incredible sadness and rage, it also acts as a beacon of hope. By giving a voice to the women that carry the mental load, there is a tangible sense of hope for change: whether that be by a partner stepping up and recognising they should be doing more, or by a woman reclaiming her power and deciding to put herself first by shedding the mental load instilled by others. As the play comes to a close, the audience is left with a sense of triumph and with a silent promise that life can, and will be, better.

To book tickets to She Works Hard For (No) Money, please visit https://anywhere.is/series/she-works-hard-for-no-money.

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Parade: The Musical

Parade: The Musical

Parade: The Musical Rating

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The Tony Award-winning Parade: The Musical returns to Brisbane at the Ron Hurley Theatre in Seven Hills, recounting the true and tragic story of Leo Frank (Michael Lewis), a Jewish factory manager in Atlanta, Georgia, who was wrongfully accused and convicted of the murder of 13-year-old factory employee Mary Phagan (Mabel Tamone).

The case—and its aftermath—exposed deep-rooted antisemitism, stark regional divisions, and widespread injustice in early 20th-century America. This pivotal moment in U.S. history not only intensified the rift between North and South but also helped fuel the resurgence of the Ku Klux Klan.

Directed by Johnny Peek, this Bump In Productions staging features a cast that seamlessly blends professional and community talent.

Real-life couple Michael and Belinda Lewis lead the production as Leo and Lucille Frank, lending a powerful intimacy to their performances, particularly in the show’s later scenes. Michael gives a deeply sincere portrayal of Leo, the Brooklyn-educated businessman who moved to Georgia after marrying Lucille and took over management of her uncle’s factory. His involvement in the local Jewish community becomes a focal point in the courtroom scene, and his emotional depth in the final act—after conviction and while awaiting sentencing—is both compelling and heart-wrenching.

Belinda Lewis delivers a sublime performance as Lucille. Her disbelief and frustration over the injustice done to her husband drives her to take control (“Do It Alone”) and persuade the Governor to re-open the case (“This Is Not Over Yet”). When Leo is moved to a prison farm, she visits him with a picnic—this tender scene was, for me, the highlight of the show. Their connection during “All the Wasted Time” was palpable, holding the audience in rapt silence.

Jay Monck gives a commanding performance as the ambitious District Attorney Hugh Dorsey, whose political ambitions hinge on a conviction—regardless of the truth.

Mabel Tamone is exceptional as Mary Phagan, imbuing the role with a childlike innocence and warmth. She is perfectly matched by Casey Martin as Frankie Epps (“The Picture Show”), a rising triple-threat performer. Both Tamone and Martin are talents to watch.

The ensemble is strong across the board, with standout moments in group numbers like “There Is a Fountain” and “It Don’t Make Sense.” Matthew McKenzie is magnetic as Jim Conley, especially during the gripping chain gang number, “Feel the Rain Fall.”

Musical Director Michael Keen brings Jason Robert Brown’s score vividly to life with the support of an accomplished live orchestra positioned offstage. Maureen Bowra’s choreography plays to the cast’s strengths, with intricate staging that immerses the audience in key moments.

Overall, Parade is an extraordinary and moving production—not to be missed.

Parade: The Musical runs through 3 August at the Ron Hurley Theatre, 28 Tallowwood St, Seven Hills QLD 4170.

To book tickets to Parade: The Musical, please visit https://www.trybooking.com/events/landing/1360687.

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Life’s Journey with Rick Springfield

Late Late At Night: The Rick Springfield Story

Late Late At Night: The Rick Springfield Story Rating

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The Late Late at Night: The Rick Springfield Story promises a show with heart and nostalgia as the audience is taken down memory lane with the Australian-American icon: and it delivered.

Jackson Carroll’s flawless depiction as Richard Springthorpe, otherwise known as Rick Springfield, was a perfect balance of learning about the struggling musician’s life and performance of his classic hits. Although Springfield navigates heavy topics, including mental health issues and personal losses, Carroll showcased these struggles in a sensitive and somewhat endearing manner. The show acts as a reminder that the glorified icon who graced our radios with the rock and pop anthems Jessie’s Girl and State of the Heart is also a man trying to find his way.

The excitement of the audience was tangible as soon as the music commenced. Carroll immediately hooked in the audience with his emotive voice, alternating between the piano and guitars, helping viewers construct Springfield’s elusive world. The minimalist stage set-up, decorated with key pieces possessing significant meaning to Springfield, emphasised his isolated journey of discovering who he is; and what truly brought him joy. The use of lighting and audio recordings to construct the world of Springfield effectively reflected his declining mental health, as well as core events that led him down the path of self-destruction and self discovery.

The enthusiasm and energy Carroll maintained throughout the one-man show is highly commended, which was met with a standing ovation. The skill in carrying a show from beginning to end, jumping between monologues, different characters and the music of Springfield is remarkable. As he acted and sang, jumping between timelines and showcasing the origin of Springfield’s beloved songs, Carroll made it look effortless. One of the highlights of his distinguished performance was the seamless shift between all stages of Springfield’s life. We watched Rick Springfield address the audience like old friends before diving into his experiences as a boy, to a teen trying to make his dream a reality, a man that falls a part when fame does not give him everything he thought it would; to an icon that realises the true meaning of happiness.

Fans of Rick Springfield, old and new, will not be disappointed when they embark on this journey to learn about the man behind the music. The Late Late at Night: The Rick Springfield Story offers fans a chance to learn his story, but will also find themselves reflecting on the true meaning of happiness as they watch Springfield muster his courage to right his wrongs and find his purpose. Witnessing the story of the icon battle and overcome his lifelong struggles offers a gentle reminder that even those we idolise are indeed human, and just like them, we too can overcome our darkest days.

To book tickets to Late Late At Night: The Rick Springfield Story, please visit https://kierancarroll.com/rick-springfields-late-late-at-night/.

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Number 24

Number 24 (Opening Night Gala )

Number 24 – Scandinavian Film Festival Rating

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“I have five drawers in my head. The three top drawers I open all the time. Draw number four I open less often. I closed the bottom drawer May 8th 1945, and haven’t opened it since.” So begins Number 24 (NR24), a Norwegian espionage thriller set in World War 2 that opened the Scandinavian Film Festival in Sydney.

Directed by John Andreas Anderson (Uno, North Sea), it tells the true story of Gunnar Sønsteby, a young accountant who joins the resistance movement after Norway is occupied by the Germans and becomes a national hero. Given the code-name Number 24 by British intelligence, Sønsteby risks capture, torture and execution to sabotage the German war effort, owing his success to careful planning and preparation. Soon he finds himself in charge of a resistance cell called the ‘Oslo Gang’ and wanted by the Germans.

The story is told through an episodic series of flashbacks as an older Sønsteby (Erik Hivju) gives a lecture to a group of schoolchildren. The symbolic passing of knowledge and experience from the older generation to the young is used as a reminder not to forget these stories. Torture and interrogation are shown with brutal detail to drive home not only the risks faced by the resistance, but also the sacrifices made by real people that this movie is about.

Children in the lecture confront Sønsteby with questions regarding the ethics of killing, not only Germans but fellow Norwegians, and he explains that he did what had to be done, and it’s hard to understand without having experienced war for yourself. In the current global climate of conflict across the world, it’s a poignant reminder that life and ethics are very different during war.

The wartime Sønsteby is played by Sjur Vatne Brean, giving a strong portrayal of a man who must learn to kill without prejudice in order to perform his duty. Both Brean and Hivju have a striking resemblance to each other, convincingly playing the very young and very old Sønsteby respectively. The cinematography is strong and gives a clear sense of two different periods in history, with the modern day shot like a documentary that convincingly beds in the reality of the story.

The action scenes in World War 2 are grand and explosive, with a huge scale and a great amount of detail for historical accuracy. You can tell the script was written by a historian and journalist (Espen Lauritzen von Ibenfeldt and Erland Joe) based on the biography by Petter Johannessen. Number 24 was a strong start to a great festival packed with fantastic cinema that I Highly recommend you attend.

The Scandinavian Film Festival is currently on across Australia until mid-August. Check ScandinavianFilmFestival.com for more information.

To book tickets to Number 24, please visit https://scandinavianfilmfestival.com/films/sca25-number-24.

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