The multi-award-winning hit musical cabaret Little Squirt comes to Bondi Fest at Bondi Pavilion for three nights.
Following an international tour, writer and musical comedian Darby James returns to Sydney with his heartfelt and hilarious one-man musical comedy exploring sperm donation, queer parenthood, and unconventional pathways to starting a family.
LITTLE SQUIRT WINNER Somewhere For Us Magazine Fringe Award 2025 WINNER Green Room Award 2024 for Outstanding Production 2024 WINNER Green Room Award 2024 for Outstanding Direction 2024 WINNER Green Room Award 2024 for Outstanding Writing 2024 WINNER Edinburgh Touring Award, Melbourne Fringe 2023 WINNER Best Cabaret, Melbourne Fringe 2023
When Darby responds to a Facebook advertisement seeking sperm donors, he finds himself navigating genetic questionnaires and confronting existential questions about parenthood, identity, and the future of the planet. Blending sharp humour with emotional depth, Little Squirt invites audiences to consider what it means to create life in an uncertain world.
Featuring 12 original songs, Little Squirt is written and performed by Darby James and directed and dramaturged by Casey Gould. Since its premiere, the production has won three Green Room Awards, including Best Cabaret, and received the Edinburgh Touring Award at Melbourne Fringe 2023. The award launched a successful international journey, with seasons at Edinburgh Fringe, London, Aberdeen and Dublin. Praised by audiences and critics, Little Squirt offers a moving and deeply personal perspective on procreation, legacy and belonging.
Little Squirt is produced in partnership with Quiet RIOT, the boutique production company founded by producer Linda Catalano (Hot Brown Honey, BATSHIT, Dangerous Goods).
“Unexpected, thought-provoking and bursting with heart” ★★★★ The List
“Profane but profound…James is a winning, engaging performer” ★★★★ The Scotsman
“Everything you can really want and need from a musical comedy” ★★★★ A Young(ish) Perspective
“Impressively delivered…left the stage to bellowing cheers and foot stamping” ★★★★ Entertainment Now
“Delivered with such raw honesty and passion that there were tears in my eyes…a beautiful piece of work” ★★★★★ Musical Theatre Review
“An edge of your seat hour…if it comes to a theatre near you – GO!” Theatre Travels
Creative Team: Written and Performed by Darby James Direction and Dramaturgy by Casey Gould Set and Costume Design by Betty Auhl Executive Producer Linda Catalano Technical Operation Tyler Fitzpatrick
Age Recommendation and Content Warnings: 14+, Scenes of a sexual nature, strong language/swearing
After a brisk walk along the piers at Dawes Point with nothing to guide us but Google Maps and pink lights in the distance, we stumbled into the Rebel Theatre for the final night of Deal Me In!, a “glitzy Las-Vegas style dance cabaret featuring some of Sydney’s best variety artists!”
Under the guise of a simple game of poker, Deal Me In! follows a group of hapless players through their game as it descends into chaos, flirtation, and sleight of hand. The 90-minute cabaret effortlessly maintained a perfect balance of comedy, storyline, circus, and glamour, with hilarious moments of audience participation that kept the room engaged from beginning to end.
Walking into a lush theatre, the incredible mood lighting and show logo displayed on the curtains perfectly set the scene, alongside a killer pre-performance playlist. As the lights went down, singer Vivienne Stone (Songbird Siren) made herself known at the back of the audience, floating down the stairs towards the stage in a glittering silver corset and star headdress.
We then met Frankie St. James (Zak Vasiliou), a self-proclaimed Short King, who kept the show moving seamlessly between acts with stand-up, Pringles-themed ASMR, and more. He also ran an audience-wide competition, where poker chips were handed out based on participation with the individual holding the most chips at the end of the show receiving a prize. This really made the show stand out, and I enjoyed how it encouraged the audience to participate more without pressure.
Philipe le Scripte (Courtney Robinson) was the first solo act of the evening, dancing around the stage to “Smiling Faces Sometimes” by The Undisputed Truth in an electric red suit, with trousers that unzipped up the sides and a hidden plushie snake.
Following in quick order was a flirtatious swing dance between Theo Sparkes (Justin Sacco) and Daisy Fontaine (Alanna Hocking), who stunned the audience with their effortless spins and flips. Sparkling under a pink spotlight, Lola Champagne’s (Nicole Aspinall) attempt to give a reading to a member of the audience went astray when she pulled the Death card. She escaped to the stage for an incredible burlesque number that began with her spinning out of a skirt and ended in a life-sized martini glass, all under the same pink spotlight. Unfortunately for Lola, she had accidentally brought her Tarot cards to the poker table instead of playing cards, and thus was forced to fold.
Frankie returned as a masterclass of scripted improv as he skillfully and hilariously foiled a front row member’s attempt to pilfer Lola’s skirt. After the theft was averted, he took someone backstage with him while Vivienne taught everyone else a dance. Frankie returned with his audience volunteer dressed up as Elvis Presley, and I have to give her so much credit for her enthusiastic and immediate commitment to the role.
Vivienne’s solo consisted of a jazz ballad cover of Poker Face by Lady Gaga, before Theo Sparkes returned for a tap number that featured a surprise – a seventh poker player! (Cooper Cossettini)
Affectionately dubbed as “Sound Guy” by myself, Theo and the surprise cast addition engaged in friendly competition through a synchronised dance that featured canes, brooms, and a conspicuous prop that wobbled in time with their jumps and spins. This quickly devolved into a full-cast bar fight/dance number, with the cast taking turns beating up the interloper while he lunged at Theo.
Scarlett Voss (Etana Wasley) then took the spotlight for a “solo” magic act, but Sound Guy was quickly discovered as her hidden assistant. Their every attempt became increasingly disastrous, escalating until Scarlett was trapped in her own slacks during a quick-change trick. Philipe then came back on stage for a fire-eating solo, lighting his own hands, arms, and tongue on fire to keep the torches lit. After another Frankie interlude had him commentating on a game of snap, the flirtation between Theo and Daisy finally came to fruition through an incredible aerial set that received an audible “Wow!” from the audience while Vivienne sang.
The poker game came to a tense close as Scarlett decided to try and cheat the house to win the game. The final group number featured a comically large card that was tossed about between the cast as they danced and flipped and rode tables across the stage. The final surprise of Deal Me In! arrived in the form of Frankie St James’ tearaway pants as he delivered an impassioned speech on late-stage capitalism and posed in his golden hot pants.
‘House Of Rot’, Hayes Theatre, Potts Point, is a stunning piece of cabaret by Dino Dimitriadis and Victoria Falconer. Inspired by the documentary, ‘Grey Gardens’, about an aunt and cousin to Jacqueline Kennedy-Onassis. These two wealthy women suffer a dramatic decline from wealth to poverty and become eccentric recluses. Paul Capsis and Adam Noviello have a blast playing these two lost souls. Capsis is Big Edie and Noviello is little Edie.
The opening number doesn’t feature the two protagonists. Victoria Falconer gives a beguiling rendition of ‘Windmills Of Your Mind’. What a voice! Her vocal skills and piano playing panache have the audience in wonder. ‘Windmills’ also closes the show. It’s such a poignant song for this cabaret. Falconer shines again when she performs a violin solo piece, which is deeply evocative.
Capsis and Noviello talk at the audience a lot. It’s their theatrical trick. This technique is particularly effective for their banter. When Capsis utters “that he misses boredom”, everyone erupts with laughter. Capsis’ comic timing is a skill to behold.
This cabaret has an eclectic mix of songs. ‘I Touch Myself’ ( a nude Noviello playing piano), ‘Tea For Two’, ‘Young And Beautiful’ and ‘I Am What I Am”. When the Capsis and Noviello combination really soars is when they perform a duet of Sondheim’s ‘Send In The Clowns’ and The Cranberries’, ‘Zombie’. It’s such a daring duet that works. Noviello is very tall and slim. (A contrast to the small, stockiness of Capsis). He glides across the stage in a haunted, rebellious fashion. When Adam sings, one can tell that he loves to really launch his voice. It’s powerful. Capsis does more than match this younger performer. It’s obvious these two actors know how to bring the best out of each other.
‘House Of Rot’, is a special production in a special space. The set with it’s black chairs, black walls and black floor, is striking. The actors are dressed in stylish black ensembles, as well. It all looks very slick.
Hayes Theatre in Potts Point, is quickly establishing itself as the place to be in Sydney. It’s a cosy theatre, which is perfect for the claustrophobic existence of these two recluses. Loneliness, aging and isolation are all put under the microscope.
Any time Paul Capsis goes on stage, there is an expectation that the show will be world-class. Being able to get up close and personal with the performers on this show, is thrilling.
‘House Of Rot’, is a 70 minute romp. The time frame doesn’t make you feel cheated. Quality triumphs over quantity every time. I’m sure Paul Capsis gets a standing ovation whenever he struts his stuff. He did his best to look genuinely surprised when the audience rose as one to salute him, Noviello and Falconer. I love Hayes Theatre too, for its intimacy. Musical theatre is joyous in a cosy space. The acting fraternity feel the same. At every Hayes performance, it’s easy to spot actors in the audience. They adore the place.
You’ll have to be quick to grab a ticket. This production will sell-out. ‘House Of Rot’, provides one of the most amazing theatrical experiences of the year.
Opening night of Sweet Charity at Chapel Off Chapel, Friday, 19th June, 2026.
Heirlume Productions presents the iconic Bob Fosse musical, Sweet Charity, with support from Forest Collective, the award-winning Australian arts organisation founded in 2009 by composer and conductor Evan Jay Lawson. Playing at Chapel Off Chapel from 18 to 28 June, this production brings together Heirlume’s theatrical vision with Forest Collective’s musical expertise in a successful and masterful collaboration.
Sweet Charity, written by Broadway legend, Neil Simon, with a great score by Cy Coleman and lyrics by Dorothy Fields, has always been a musical fan favourite.
Taken from the plot of a 1957 Italian film about a streetwalker, Nights of Cabiria (Le notti di Cabiria), Simon’s musical rendition kept four of the film’s landmark moments. Conceived, staged, directed and choreographed by Bob Fosse for his wife, the irrepressible Gwen Verdon, Sweet Charity premiered on Broadway, New York, in 1966 and was nominated for nine Tony Awards with a win for Fosse’s unmistakeable quirky and technical choreography. Let’s just say, Fosse made it his own.
So, no surprise the opening night audience at Chapel Off Chapel were bustling with excitement ready to soak in its many hit songs and, to experience that fabulous Fosse feeling, however, we were not prepared for how tight, fabulous and professional this production and its cast were going to be.
Director, Madison Lee, has reinvigorated the beloved characters and legendary score with a “queer love story and a tale of self-acceptance.” In her Program Director’s Note, Madi reminds us that “Charity Hope Valentine is a woman who wants to be loved completely resisting against a world that has given her very little reason to keep believing….” Except for, “…her chosen family, the people who hold us when we get back up and remind us who we are when the world tries to tell us otherwise.”
Lee has directed a female ensemble so strong and diverse, most playing multiple parts, I haven’t seen the likes of together in years:
Experienced VCA graduate, Erica Wild, fresh back from West End, U.K., embodies Charity Hope Valentine with honesty and sweetness. Wild is hardly ever offstage but gives everything she has to this role, with all her innocence and energy. She is easy to love.
Producer, Heirlume founder and Productions Artistic Director, Manda Rozen-Flannery, says of Charity, “…something feels inherently neurodivergent … about her.” Wild captures this perfectly.
Wild is supported by second leads, Madeline Pratt as Nickie and Hannah Gutierrez Cañon as Helene, playing two seasoned dance hall girls weathered and baffled by Charity’s naivety.
Choreographer and educator, Pratt is powerful in singing, acting and dancing.
For Cabaret performer and former National Latin dance Champion, Cañon, new to the Musical Theatre industry, her dance expertise is obvious.
As is the dance talent of Tyler-Rose Shattock, who charmed us as an excellent Frug Girl in the nightclub scene. Shattock also stands out with all her other characters.
Extremely talented and versatile Sara-Louise Younger plays both the Herman and Daddy characters. Her version of ‘Rhythm of Life’ along with the whole cast, was simply transformational. Singing gospel one minute and opera the next, her range and voice is unique to Australia.
Supported by Alessandra Negro as Ursula, Eden Holmes as Carmen, Lisa-Marie Coad as Betsy and Bridie Erwin-Keirl as Rosie, all playing multiple other roles, the hard work and camaraderie of the whole troupe beams and was just a pleasure to watch.
Clancy Enchelmaier plays the only three male roles, from Charity’s bad choice of boyfriend at the start to movie star, Vittorio, to romantic lead, Oscar. His distinguished voice and range is strong.
This show is also excellent creatively:
The audience was delighted with Jesse Matthews’ choreography. He is resident performer and choreographer for Forest Collective. Matthews paid tribute to Fosse’s unmistakeable 60’s style keeping the line of the classic number, ‘Big Spender’ while adding a touch of difference. Even in this smaller production, the choreography shines and was one of the highlights of this show.
The iconic dance scene from the Sweet Charity movie, titled, “The Aloof” is a perfect blend of elegance, satire, and stylistic brilliance in storytelling. There is no expression on any of the dancers’ faces in “The Aloof”, however, in this production, Matthews / Lee have decided to arm Shattock’s Frug girl with sexiness and smiles, energising us into the vibe of a nightclub, also switching us away from the dim of the dance hall.
Forest Collective Artistic Director, contemporary composer, singer and conductor, Evan J Lawson, and Composer, Pianist and Musical Director, Max Kielly are co-musical directors on Sweet Charity and are sharing time in the conducting of the orchestra, with Orchestrator, Shanon Whitelock. It’s obvious this has been a very successful collaboration.
An energetic score that is usually undertaken by a full orchestra has been executed with precision by this award winning and versatile crew of six musicians, Thomas English on woodwind, Bodhi Scott-Jones on trumpet, Max Kielly on keys, Felix Gilmour on percussion, Benjamin Lamb on guitar and Ian Crossfield on upright & electric bass.
The shows’ Costume Designer, Zachary Dixon, has pieced together items that tell a story throughout each scene, from Charity’s gingham print summer dress – she probably wore from her hick town into the big city dance hall for work – to Nickie and Helene’s Lingerie variations, to Daddy’s hippie church group collections, the costumes are colourful and timely in the best way.
Lighting Designer, Ruben Laine, Sound Designer, Lukas Battey and stage manager, Samara Louise have connected all of these dots seamlessly to present to us a stage of scaffolding representing the dance hall above and the dressing rooms below, as well as the highs and the lows of their lifestyle.
I enjoyed this show so much, I may attend once more. If you can get tickets, hurry up and get them now before they sell out. This show is not to be missed.
