Wow. Yesterday was the International Day of Trans Visibility, and what better way to honour such an important occasion than by seeing Cassie Hamilton’s hyperpop musical, “A Transgender Woman on the Internet, Crying”.
I love the Old Fitz, not least because of the complete transformation of the set with every new show. This one was brilliantly done, with stylised graffiti and old skool speakers that pumped out the hyperpop hits. What is “hyperpop”? Thanks, Mouth_Feel, played by Rosie Rai, for answering that question. This is one of many questions raised, asked, and answered in this powerful and vulnerable piece of work; some you never thought to ask, some you should have thought to ask, and some most of us have no right to ask. All are handled with a delicate balance of truth through song, delivered with poignancy and emotion by this incredibly talented cast.
The story centres around Avis O’Hara, aka the DIY Doll, played by the epically talented writer and creator Cassie Hamilton. Avis has built an online platform by leaning into being “the right kind of trans”; with an emphasis on “right”, where those internalised self-hate pathways sometimes end up aligning. I first came across Cassie Hamilton in ATYP’s production of “Converted!” and was excited when this project was announced, eagerly awaiting a Sydney season. Even more so when two of my favourites, Blake Appelqvist (who I’ve been fangirling since Fangirls) and Teo Vergara (stole my heart in Jagged Little Pill), were announced, and it was a pleasure to make the acquaintance of the equally talented Rosie Rai. These four powerhouses bring their own unique authenticity and depth to their characters. Blake plays Corrin Verbeck, a left-tube vlogger who, along with besties Mouth_Feel and Sasha (Vergara), is sick of the toxic messaging by people like Avis and conspires to expose her.
It’s a classic frenemies-to-lovers story, but also a beautiful celebration and deeply moving collective healing and purging of complex trauma for one of the world’s most marginalised and persecuted groups of people. The foursome harmonise beautifully, with vocals (musical direction by Lillian Hearne) and choreography by Dan Ham and Riley Gill that allow each performer to shine.
Jean Tong’s direction is a real asset to the production, grounding and guiding the chaos with a deft hand. Tong allows high energy and spontaneity to flourish while maintaining a sharp pace and a strong emotional through line. There is a kind of guerrilla-theatre quality to the staging that feels entirely appropriate here, and the performers absolutely thrive within it. It is a confident, responsive directorial vision that gives the work room to be both playful and devastating.
The creative team deserves huge credit for the world they’ve built. Ruby Jenkins’ set is grungy, eye-catching, and feels like a playground for the characters to gleefully exist in. Rachel Lee and Nick Moloney’s lighting leans into cliché musical-theatre lighting state, and the work is better for it. Dan Ham’s choreography is crafted not only to capture each character’s movement, but to allow each performer to comfortably move within their abilities and fully relish the dance breaks. The lighting and sound design are engaging and responsive, with one of the most impactful moments coming when the production makes the brilliant choice of pure silence at a significant emotional peak.
The trans joy and journey are loud and proud, as they should be. But this work is also an important commentary on the fast-moving pace of online interaction, how quickly acceptance and encouragement can turn into control and isolation, and then just as easily flip into hatred and the dreaded “cancelling”. It highlights the impact of keyboard warriors and the knife’s edge of finding online belonging while surrendering freedom, autonomy, and authentic self-expression. It shines a dark light on the struggles many face when it comes to cyber culture, particularly in specific communities.
The audience was thoroughly engaged throughout. We laughed, we cried, we grooved, we swooned. This is a truly well-written, beautifully crafted show that is a must-see. I might just need to go along and see it again if I can manage to secure a ticket before they sell out.
To book tickets to A Transgender Woman On The Internet, Crying, please visit https://www.oldfitztheatre.com.au/a-transgender-woman-on-the-internet-crying.
Photographer: Brett Boardman
