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Colour and Light: The Art of Sondheim

21/09/2025 Adam Miller🥉

Colour and Light: The Art of Sondheim Rating

★★★★★

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Buckle in. There is going to be a lot of hyperbole in this review. When something is this good, how else can you describe it?

Colour and Light: The Art of Sondheim, presented by Watch This at Theatre Works, is less a musical revue and more a velvet-draped love letter to the genius of Sondheim. It’s the kind of show that slips under your skin, reshapes your idea of what cabaret can be and sets a new standard for how theatre should be made.

Theatre Works is perfect venue for this show. It balances epic with intimate, using the high ceiling to hang long luscious drapes but keeping the audience close enough that we felt every word on the stage. Designer Rob Sowinski has conjured a stage that feels like a plush, lived-in lounge room (art deco drinks trolley and all) with a circle of tiered staging, bathed in the soft glow of vintage table lamps. It’s intimate and luxurious.

What follows is a breathtaking journey through Sondheim’s songbook. Yes, the big numbers are here, but so are the deep cuts and the “why-don’t-more-people-sing-this?” gems. I’m sure Sondheim diehards will know that he wrote songs for the 1990 film, Dick Tracy, but I had no idea and it was a revelation to hear music from the soundtrack on the stage. The show flows with purpose and precision, thanks to the clean, intelligent direction of Melanie Hillman and Dean Drieberg, whose love of the material radiates through every moment. The loose thematic arc is shaped around Seurat’s artistic principles of Order, Design, Tension, Balance, Harmony. The structure gives the evening clarity without ever feeling constrained or contrived. This is cabaret at its best.

And then there’s the music.

Dr Trevor Jones, who arranges, musically directs and performs from the piano, is the beating heart at the centre of the piece. His arrangements are stunning. They are lush, showy when needed, simple when called for and always with a focus on the emotional truth of the songs. This is some of the finest musical storytelling I’ve heard on a Melbourne stage and reminds me why, when done well, musical theatre is one of the greatest art forms ever.

Johanna Allen is a master of her craft. Her ability to navigate the razor-thin line between vocal fireworks and emotional restraint is unmatched. She brings a knowingness to the stage that draws the audience in and lets us share the humour and pathos in all of her delivery. There are countless moments she channels such precision and ache that you could feel the entire theatre holding its breath. This is vocal acting of the highest order.

Vidya Makan broke my heart multiple times across the night. There’s an emotional directness to her performance that’s magnetic. Her choices are always fresh, never predictable and she elevates everything she touches with nuance and grace. Her I’m Still Here was a stand out moment in a evening of stand out moments. She gave us an exquisitely rendered journey from introspective calm to triumphant exuberance with countless little gut-punches along the way.

Nick Simpson-Deeks, as ever, delivers with polish and pinpoint clarity. He finds the architecture in each song, builds it, then knocks it down with a smirk or a sigh. It looks effortless, but this has to have been crafted and perfected over years. His Send in the Clowns has ruined every other version for me. Honestly. It needs to be bottled and prescribed to every aspiring performer and every audience member. It is good for the soul.

Jacob Rozario brings vibrant charisma and thrilling musicality. They shift gears effortlessly from the ridiculous to the sublime and their voice is an instrument of total control and warmth. There wasn’t a moment when their performance wasn’t a captivating blend of playful, detailed and vocally dazzling. His delivery of Can That Boy Foxtrot will stay with me for a long time.

Colour and Light: The Art of Sondheim elicited a palpable love in the room, not just for Sondheim, but for collaboration, for precision, for joy. The audience left buzzing, visibly moved and audibly delighted. As for me? I’ve already booked to see it again.

This is one of the finest tributes to Sondheim I’ve seen anywhere in the world. Don’t miss it.

To book tickets to Colour and Light: The Art of Sondheim , please visit https://www.theatreworks.org.au/2025/colour-and-light.

Photographer: Ben Fon

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A Thoughtful, Entertaining, And Faithful Rendering Of A Complex Classic

25/08/202524/08/2025 Chantal Harrison Writer🥈

Rosencrantz & Guildenstern Are Dead – Hunter’s Hill Theatre Rating

★★★★★

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Hunters Hill Theatre’s “Rosencrantz & Guildenstern Are Dead,” Tom Stoppard’s legendary absurdist tragicomedy, delivers a warm and lively take on the tale of two minor Hamlet; characters doomed by fate and their own obscurity. From the outset, the greeting from the Hunters Hill Theatre committee sets an inviting tone, matched by the cheerful note of live music wafting through the space as the audience finds their seats; a particularly thoughtful touch that eased the transition into what would be a lengthy but joyful theatrical experience.

Stoppard’s play pivots around Rosencrantz and Guildenstern, two bewildered courtiers caught on the fringes of Hamlet’s story, who contort through existential wordplay, philosophical meanderings, and a growing awareness of their own lack of agency. The narrative, fragmented and surreal, weaves in and out of Hamlet, placing our protagonists in a landscape where meaning and momentum are perpetually just out of reach. While in theory this absurdist structure invites playful confusion, in practice it can be a genuine challenge for audience members to follow; something I certainly experienced at times.

The sequence of coin tosses, theatre-troupe hijinks, and discussions of fate and free will were made more powerful by the gorgeous old theatre style setting, the reds of the enticing set, the colourful costuming and light design and the interwoven 90s classics as the soundtrack.

Karen Pattinson’s Rosencrantz anchors the show with remarkable vitality, her presence is infectious, and she brings a buoyant, engaging quality to every scene. With a playful physicality, Pattinson makes superb use of the stage, drawing energy from even the most challenging passages and keeping the audience engaged. She manages the lightness and quick wit the role demands, creating a Rosencrantz who is both affable and deeply sympathetic, maintaining momentum even where Stoppard’s existential riddles might otherwise cause the pace to lag.

Jivan Drungrilas as Guildenstern plays the perfect foil to Pattinson’s cheer, rendering their character with brooding skepticism and philosophical weight. The dynamic between the two is the production’s heart; comic timing and tonal balance keep the core relationship feeling alive, dynamic, and frequently funny.

The supporting cast deserves credit for enlivening the margins with punch and humour, particularly during the play’s meta-theatrical moments and ensemble-driven scenes involving the Tragedians. The use of shadow puppetry adds a whimsical element. Their comic timing and character work bring welcome clarity and relief, heightening the absurdity while never losing the sense of fun.

Practical touches, such as the provision of cushions for the chairs, should absolutely be taken up, as the play’s length is both a testament to the ambition of the company and a point of practical consideration for audiences. These small gestures, along with the committee’s warm welcome, reflect the community ethos that makes local theatre so rewarding.

As with any opening night, there were some small hiccups and moments where the pace snagged slightly, but these did little to diminish the overall energy and connection of the cast. The enthusiasm onstage, particularly in the lead performances, quickly won over the audience and supported the more challenging elements of the text.

The direction of Tui Clark and the well-chosen cast really have taken this piece to the next level. The production offers a thoughtful, entertaining, and faithful rendering of a complex classic.

To book tickets to Rosencrantz & Guildenstern Are Dead – Hunter’s Hill Theatre, please visit https://www.huntershilltheatre.com.au/.

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More Than Just A Dance Performance

06/07/202506/07/2025 Nicole V🥈

Mother Nature An Arena Spectacular Rating

★★★★★

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The lights drop, plunging the stage and audience into darkness. The only sounds to be heard are excited, wriggling young audience members and the tap of the shoes onstage as the band makes their way to their instruments. A booming voice echoes throughout the arena …

The Australian Calisthenics Theatre Company (ACTC) bring to life a vivid story through dance, song, and light. Over the course of six scenes, the audience is introduced to the elements that make up Mother Nature: earth, fire, water, wind, light, and sun. Each element has a lesson to teach Mother Nature so she may grow into who she is meant to be. Each scene focuses on one element, and the choreography beautifully represents the emotion and inner turmoil Mother Nature experiences with her time spent with the element, as well as the element herself.

I say ‘the element herself’, because each of the elements are powerful women and girls, showcasing their hard-earned strength, athleticism, control, and finesse. For fans of calisthenics, you might be questioning if Mother Nature feels like a competition. It does not – you still get your typical march, free exercise, graceful, rods, and clubs, but this is a story, so each category melts together to bring a beautifully aesthetic performance carefully crafted to make you gasp, cry, sigh, and smile.

The lighting swirls on both stages, the colours reflecting the element speaking with Mother Nature, from a cooling green-blue to an almost alarming orange-red, and every colour in between. The lights roll and dance as though they are part of the ensemble, while the screen at the back of the stage rotates through images which reflect, and match, both the lighting and the dancers. Undulating lights breathe life into both of the stages, not only giving it life, but weaving into the story.

Unlike an average dance performance, Mother Nature not only boasts a double stage connected by two runways, but also a live band and singers. JD Smith (one of the Ten Tenors) was a visiting performer, pairing his vocals with female singer Chloe Castledine and ‘The Cast’ orchestra. The musical score is an original soundtrack for Mother Nature; inspired by the elements, each song carries the audience through the chapter, evoking emotion and a depth of emotion the likes of which was Broadway-worthy. Some of the songs were, in fact, Broadway songs, so remember to keep an ear out and you might find yourself admiring the Stars, while Defying Gravity and gazing Into the Unknown. Excerpts and covers of popular songs from Sam Smith, Lada Gaga, and Celine Dion also sneak their way into the performance, among many others, winding and melting together seamlessly.

The performance is so enrapturing that after two scenes, you couldn’t blame yourself for not realising the performers had already changed costumes multiple times. While Mother Nature has her signature look, each element has a leotard leaning closer to a work of art, and the ensemble joins with dazzling complementary pieces. The leotards boast thousands (if not hundreds of thousands) of jewels, gems, and beads, shimmering with every breath under the light.

The story of Mother Nature is one of strength, of perseverance, and hope. Inspiring not just to women, but all genders. Mother Nature celebrates storytelling, music, and life through dances designed to take your breath away and leave you full of wonder.

To book tickets to Mother Nature An Arena Spectacular, please visit https://www.auscalisthenicstheatre.company/whats-on/mother-nature.

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Australia Really Does Have Talent!

18/06/2025 Chantal Harrison Writer🥈

Homo Grown Rating

★★★★★

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Apologies in advance, I tried to catch as many names of these talented performers as possible but I have definitely missed some and will jumble them up. Homo Grown was an absolute treat! For this queer musical lover, it was like a slice of Heaven.

Host and co-founder of “Home Grown Aus”, Nick Ledger, opened us with Princess by Matthew Lee Robinson. Home Grown Aus, co-founded by Nick and husband Ben Nicholson, is the grassroots movement championing and producing original new works in Australian musical theatre. I actually attended a reading of “Mackenzie” by one my favourite musical theatre writers, Yve Blake, earlier in the week. That was produced by Home Grown and Hayes Theatre.

Our next act was a stunning cameo by Australia’s first female Prime Minister, performed by Mandy Isher. It brought the house down and the energy up to stay.

McBeanie and Hurley then performed a duet based on their musical chronicling the life and times of (very) obscure playwright, Robert Wiseman. This was a cute little back and forth called “The First Time I Met You” and left us with heart eyes for this real life couple.

Powerhouse Carla then took to the stage with “We’ve Got Chemistry” by Jordy Thomas. Those pipes!! Carla has power and presence and a sexy, sultry voice. With this melting “Ooh” that was like liquid chocolate! And I even I understood most of the chemistry puns, despite flunking science! Carla lights up the room and is an artful performer.

Yasheith performed “One Day In September” by Maverick and Cohen, about a closeted football star. Yakeith’s performance was earnest and nuanced, with unique use of dramatic timing. Such a beautiful voice too.

Nick Hedger returned to the stage with a love song for the gamers, nerds and misfits. It was a rock opera style ballad that hit the feels.

Robbie Alexander gave us a taste of the opening of their upcoming musical, warning it would be long and referred to it as their “Bohemian Rhapsody”. It was such a wonderful song that leaves me wanting to watch the whole musical. Charlie is the main character, who just can’t make main character status, so “Other Charlie” steals their limelight. The two Charlies and an ensemble of three delivered this number, with Charlie’s therapist’s voice being absolutely extraordinary!

Nick returned for an homage to Peter Allen which was poignant and touching.

The next was from a musical about netball. The names here got quite muddled for me. I think Sophie Davies and Harry Collins may be the composers. Lauren introduced the mother/daughter duo performance of “Married To Netball” which was absolutely hilarious and both Addie Robinson and Sinead Christado nailed the song.

We then finished with an entirely can’t-possibly-be-human performance by Carla once more. As a singer myself, I was left completely at a loss as to how one voice can do so many things and yet make it look like it’s the simplest thing in the world! I told my Plus One that Carla has to be AI!

It was such a wonderful and joyful hour of celebrating queer musical theatre creatives. I am already a big fan of Home Grown and the work they are doing, and I am so excited to see these upcoming new works and more of these incredible performers. Australia really does have talent!

To book tickets to Homo Grown, please visit https://events.humanitix.com/homogrown/tickets.

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