Kim Hardwick Directs Dixon And Daughters By Deborah Bruce At The Old Fitz Theatre

Feature-Dixon and Daughters

Tiny Dog Productions presents Dixon and Daughters by Deborah Bruce

“…if this house could speak.” An Australian premiere, Dixon and Daughters by Deborah Bruce comes from an acclaimed run at the National Theatre, co-produced with Clean Break Theatre in 2023. With a tight 90-minute run time and an all-female cast, Dixon and Daughters is a raw, compelling exploration of trauma, survival, and the bonds that tie family and in particular women together. When Mary returns home after serving time in prison, she wants to forget the past – intent on rebuilding her life, she walks into a household filled with hostility where her daughters are grappling with their past. Over a weekend, tensions simmer and truths emerge, exposing a history that has shaped their lives. Each woman must confront their past and what they’ve done to survive.

Balancing heartbreak with moments of surprising humour, this is a story about the courage it takes to confront pain, the complexity of forgiveness, and the possibility of breaking generational cycles. Fierce, moving and unflinchingly honest, Dixon and Daughters is a tribute to the strength of women and the painful path of healing.

Following Tiny Dog Productions’ 5-star co-production of The Children’s Hour at the Old Fitz Theatre in 2025 and their 4.5-star season of Monster by Duncan Macmillan at KXT on Broadway, we are pleased to be bringing this important story to the Old Fitz stage in September.

Cast: Vanessa Downing, Linda Nicholls-Gidley, Romney Hamilton, Sarah Jane Starr, Danette Potgieter, Rylea Eilis

Director: Kim Hardwick

Season and Performance Information:
Venue: The Old Fitz Theatre – 129 Dowling Street, Woolloomooloo NSW 2011, Australia
Season: 18 September – 3 October 2026
Performance Times: Tuesday – Saturday 7pm | Saturday Matinee 2pm | Sunday 5pm
Previews: Friday 18 September & Saturday 19 September 2026
Opening Night: Sunday 20 September 2026
Closing Night: Saturday 3 October 2026
Tickets: https://purchase.oldfitztheatre.com.au
Price: $34.50 – $86
Approximate Run Time: 90 minutes
Content Warnings: References to violence against women and girls including child sexual abuse and domestic violence, and depictions of alcohol abuse.

Creative Team highlights: Playwright Deborah Bruce; Assistant Director Jenni Russell; Producers Romney Hamilton & Celine Widjaya; Set & Props Designer Mia MacCormick; Lighting Designer Topaz Marlay-Cole; Composer & Sound Designer Nicky Pardesi; Costume & Props Designer Amelie Brown; Stage Manager Bianca Dreis; Dialect Coach Linda Nicholls-Gidley; Social Content Creator Chloe Callow; Photographer Campbell Parsons.

This production is generously supported by Darlo Drama and donors of our Australian Cultural Fund.

Tiny Dog Productions acknowledges the Gadigal people of the Eora Nation as the traditional custodians of the land on which we work. We pay our respects to Elders past and present and acknowledge that sovereignty has never been ceded. Always was, always will be Aboriginal land.

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Monkey Baa wonders: “Where is the Green Sheep?”

Where is the Green Sheep?

Where is the Green Sheep? Rating

★★★★★

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1

Making brilliant live theatre for small children is tricky, but Monkey Baa make it look easy.

A review of “Where is the Green Sheep?” at The Coliseum Theatre, Rooty Hill.

Small children are the best audiences in the world but also toughest. They don’t clap politely. They don’t pretend to enjoy themselves if they’re not having fun. They will just get up and wander off if they are bored. There was no danger of that during Monkey Baa’s Where is the Green Sheep?

“Where is the Green Sheep?” is a beloved picture book, a modern classic created by Mem Fox and Judy Horacek.

So, how do you adapt a treasured children’s picture book into an immersive visual theatre experience?

You’ve got to think about the size of the stage and the size of your audience. The Coliseum is a very big stage, and the stalls were crowded with hundreds of tiny children, slightly bigger children, and their grown-ups. That means you’ve got to fill that space with wonders. Think big!

You’ve also got to work out how you’re going to make the audio work. Monkey Baa wisely decided not to mic up any of their performers. Each of the three performers got to focus on puppeteering, dancing, movement and miming. The audio throughout is a bouncy mix of sparkly original music and lines read aloud by children from Bankstown West Public School.

The stage is a lovely green field with round hills and a big arched screen in a hill for projected animations. Colourful props are carried or rolled on and off stage throughout the show.

The big projection screen is a mixed blessing. Sometimes the interaction of the screen and puppets works brilliantly, for example with animated splashes for water for the Bath Sheep.

 

 

But it was interesting to watch and listen to the reactions of the children in the audience. Their response switched dramatically between animations projected on the screen and live puppetry on the stage. An animated sheep flying across the screen was watched, like it was a movie in the cinema or an animated show on the TV or a phone. No interaction. Just consuming it like filmed media. The reaction to the real live puppet sheep and live performers was completely different. Happy shouts and interaction, clapping and giggling. The difference was obvious from my seat in the audience.

The animated projections added something beautiful when they enhanced the live puppetry. A live sheep puppet flying a kite on screen. The moon and starry night sky. Rain falling. The interior of the circus tent. This brought the scenery alive. But an animation of a sheep? It’s no longer alive and real.

This was most striking with the Near Sheep and the Far Sheep. The Near Sheep was fully projected on screen, duplicating the pages of the picture book, but with the book, when the Near Sheep fills the page, it does look like that sheep is near to the reader. On the big screen on stage that sheep became the Gigantic Sheep, scaling up bigger and bigger until it filled the whole screen, looming over the three performers like Sheep-zilla.

In comparison the simple effect of the Far Sheep being taken off stage by a puppeteer and up the aisles to the back of the audience in the stalls brought whoops of laughter and instant understanding. The Far Sheep was far away from the people on the stage.

The sheep puppets, made by Kay Yasugi, are fabulous. Big, soft and squishy with some sparkles in their wool that catch the light. The three performers, Ebony Tucker, Michael Ho and Paul Grabovac, are absolutely world class.

Highlights? The Bath Sheep, the Rain Sheep and the Far Sheep.

The simplicity of a performer blowing bubbles was met with a huge cheer of ‘bubbles!’ from everyone and the Bath Sheep, splashing and being dried with a towel had the audience in stitches.

The Rain Sheep is beautiful and colourful, dancing around a lamppost and opening an umbrella, in a woolly tribute to Gene Kelly in “Singing in the Rain.”

Knitted hats off to everyone at Monkey Baa, with special mentions to director and writer for the stage Eva Di Cesare, and puppetry director Kailah Cabanas.

Monkey Baa’s adaptation of “Where is the Green Sheep?” is an absolute delight that everyone will love.

Monkey Baa’s “Where is the Green Sheep?” is touring New South Wales, Tasmania and the ACT.
https://www.monkeybaa.com.au/shows/where-is-the-green-sheep

To book tickets to Where is the Green Sheep?, please visit http://www.monkeybaa.com.au/shows/where-is-the-green-sheep.

Photographer: Robert Catto

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Limelight Theatre Presents: Aladdin

Collage of a vibrant stage show with performers in colorful costumes across four scenes.

Aladdin Rating

★★★★★

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5

Fun for the whole family, Limelight Theatre’s production of ‘Aladdin’ is full of toe-tapping tunes, witty one-liners, and colourful characters throughout.

The pantomime pokes fun at the popular Disney adaption, telling the story of an ambitious young man, Aladdin (Jake Libbis) discovering a magic lamp and using its resident genie to win the heart of Princess Jasmine (Emily Patterson).

An unsuspecting crowd favourite comes in the form of Aladdin’s friend Wishy Washy played with gusto by Mutiara Libbis who embodied the goofy character well and had a beautiful voice, though unfortunately did not get many opportunities to show it off. Equally a highlight was Limelight debutante Ana Fernandez as the glittering genie of the lamp who showed great flair and was a pleasure to watch.

Earning the bellowing ‘boos’ from the crowd was the wicked Abanazar portrayed by Matt Winter. Though the show’s antagonist, he rightfully earnt his final applause for his energetic and charismatic performance.

Peter Giles has the joyful job of bringing to life the Dame, which in this story takes root in Aladdin’s dithering mother Widow twankey, offering plenty of laughs. While Sarah Mcdonald, Chris Juckes, Gordon Park and Christine Smith round out the featured cast as Noddy, the Emperor, Sergeant Ping and PC Pong respectively.

 

 

A highlight of the production is Gwen and Dave Browning’s set, largely dominated by a beautifully painted mural that brings to life the ancient town in which the story takes place. The cleverly designed laundry room made the scene with Noddy particularly fun to watch, while the effects throughout were also a surprising treat.

Though several well-known songs were used across the performance, I do think some of the song selection was slightly odd or dated at times. Though well performed, I felt both duets between Aladdin and the Princess could’ve benefited from alternate selections, with one leaning more friendly than romantic and the other seemingly unknown to audience members sitting in my vicinity.

In the case of a pantomime, where half the fun is in picking the music, I do also think it’s important to consider the vocal abilities of your cast members. I couldn’t help but feel several female characters were under-utilised in cases where they were left to sing songs that sat quite low in their register, due to the songs being originally written and performed by men.

It was fabulous to see people of all ages taking to the stage, with Fiona Scott and Madison Allen’s choreography doing well to accommodate all dance abilities. Though it could have been cleaner in parts, a special mention must go to Kyra Havel and her acrobatic abilities as well as the four featured tappers in We’re in the Money, with this avid theatre-goer recognising the familiar costuming and props from seasons past.

A great school holiday outing for the young ones, congratulations to all involved.

To book tickets to Aladdin, please visit https://www.taztix.com.au/event/limelight/.

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A Whimsical, Joyful, Surprisingly Current Night Of Musical Theatre

Cinderella

Cinderella Rating

★★★★★

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6

The magic of Hills Musical Theatre Company’s Cinderella began as our complimentary programme arrived with a gift voucher for the canteen (and if that isn’t community theatre done right, I don’t know what is).

The set up is cabaret style. You can bring your own snacks and/or purchase from the canteen. We were then shown to our table. I loved the idea of this cabaret style, but in execution it’s a bit tricky. We were seated with others, which is a lovely way to promote the community, but it means you need to be aware of each other and visibility. I recommend you get there early enough to negotiate comfort. I had to move away from the table to properly enjoy act 2.

That small logistical wrinkle aside, this show was fantastic.

The stage itself announces its ambitions immediately. Set design by Hannah Aouchan and Keith Macbeth glitters with fairy-tale intention, and as the ensemble assembles to open the show, lighting design by Max Tibbles and Jeremy Cardew at Latarka bathes the whole scene in something genuinely enchanted. Musical director Gemma Rolph’s orchestra; live, warm, and present, does what only a live pit can do.

Into all of this steps Claire Polczynski as Ella, and she has the voice of an angel. Polczynski grounds this Cinderella in something more than sweetness; there’s a steeliness beneath the warmth, a Cinderella who knows her own worth even when the world around her doesn’t. It sets up the show’s quietly progressive take on the classic.

 

 

This version leans into political satire that lands with a particular sting of relevance; a royal wedding deployed to distract from poverty and stifle revolution, an advisor with his own nefarious agenda, a prince naive to the divide between haves and have-nots. Deniz Dogan plays Prince Topher with a commanding presence that makes his ignorance sympathetic rather than infuriating, and Sebastian Barons is a convincing, credible puppet-master pulling the strings behind him. Theo Cuelho’s cameos as Lord Pinkleton are enjoyable, and Lachlan Hopkins brings charisma and genuine earnestness to Jean-Michel, a revolutionary whose eye only strays from the cause long enough to find Stepsister Gabrielle’s. The show’s comedic MVP, however, is Josephine Pinto as Crazy Marie; and then, as the Fairy Godmother, Pinto delivers a solo to rival Disney.

Kortana Blissett as the Stepmother deserves her own paragraph. Impressively terrifying and clearly relishing every moment, Blissett finds the comedy in the menace without ever letting you feel entirely safe. Blissett and Annie Beardsley, playing Charlotte (the other Stepsister) are a fun comedic duo.

And the costuming, by Angela East and Emma Stanton, that surrounds all of this is extraordinary. The magical transformation sequences are achieved with such clever ingenuity that they serve as a reminder that community theatre, with the right hands on deck, can eclipse a big budget entirely.

Emily Taylor’s choreography leans into the classic musical theatre register while giving the ensemble room to be genuinely joyful together. This is a large cast spanning a wide age range, and every performer seems to know exactly why they’re there. The show’s youngest scene-stealer, Mackenzie Scott, is all kinds of adorable and already very much at home on the stage (watch this space).

In the interval, the company president spoke about what Hills Musical Theatre Company means to its community, and it wasn’t hard to believe. The values the show celebrates; kindness, generosity, charity, are clearly embodied by the powers that be. That spirit is woven into every corner of the evening, from the canteen voucher to the curtain call.

Cinderella is a whimsical, joyful, surprisingly current night of musical theatre. We’d have happily risked turning into a pumpkin if it had kept going.

To book tickets to Cinderella, please visit https://www.hillsmtc.com/.

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