My Brilliant Career – Warrnambool Regional Theatre

My Brilliant Career

My Brilliant Career Rating

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25

An extremely long time ago I first performed on stage as a tiny 4 year old in my birthplace of Warrnambool, so when a show came up to review in my home town, I gratefully took the opportunity and my Mum for an overnight stay. We had a wonderful weekend. Warrnambool (3.5hrs drive from Melbourne) is a fantastic place (voted Australia’s most liveable regional city) and I highlight if you include in your visit their art galleries and a theatre experience, it’s an awesome artsy destination.

MY BRILLIANT CAREER was showing at the Lighthouse Theatre by Warrnambool Theatre Company, and what a company! A cast of 28 were hugely talented and entertaining. I did have a few favourites by the end of the show, their characters so enriched the play with warmth and laughter, but I could say a million positive things about everyone in the cast, truly; all amazing, worked so well together and I hope you had the best time putting on this show, because we had the best time watching it.

Great use of an inventive set design and sound/lighting throughout the show. The ‘horse and buggy’ travel adaption, very clever! The walk-on walk-off gum trees rather than still props made change of whereabouts quick and un-interrupting to the story being told. The giant book in the background where topics scribbled across digitally invited us to continue enjoying each chapter and the true sounds of the Australian bush playing as we were transported back in time was so lovely to hear.

Mia Copland playing ‘Sybylla’ is second to none I’ve seen play this role before. It’s hard to imagine that she is anything but strong willed and confident in her everyday life too; on stage Mia is full of her character tenfold. Her lead script is unforgiving and she is on stage constantly. I applaud her every word, every mannerism, action, stride and scream. She spoke with articulation of a versed poet. Standing out was her vociferation on living in Possum Gully – being a part of a family down on their luck. Sybylla, as oldest child, will remain responsible to help her family when needed. Will she succumb?

 

 

Though Sybylla’s society grandmother takes her in for a period, and a rich man shows interest in her; they are feelings of which Sybylla may be unsure whether to reciprocate. Amid the advancement of ‘Harry’ played charmingly by Elliot Cooper, there will be a call of ‘duty’ for Sybylla to repay a debt of her father’s. I could feel Sybylla’s pain as Mia brought that to the audience in devastative prospect on returning to a monotonous torturous life Sybylla thought she had managed to leave. A life where there seemed no future to do as she wished, where no one cared of her ambitions; a life where she may survive, but not thrive. A life of no career, excepting carrying babies and hopefully not dying in childbirth.

Lucy played by Angela Verspay, was a mother dealing with all the usual things a mother does and more. The baby ‘blanket’ appearing took a serious situation into comical laughter (my second time to witness labour in action on stage haha but the first blanket pulled out – who thought of that – different!). Finally, when Lucy played piano at the end, such action said 1000 words and I felt a magic moment of communication between mother and daughter, well done!

I loved Grannie Bossier played by Kate Head, delivery of her character was precise, as was Hannh Bellamy as Aunt Helen. Noteworthy were their interactions with each other. Little extra details in theatre help make every scene believable. It might be just an eyebrow raised, shoulder shrug or a glance away, a certain non-verbal tone used; things we may not consciously always notice, but subtleties that make dialogue come to life.

The character of Uncle Jay-Jay was funny and featured in Sybylla’s stint at her grandmother’s, played by Jeremy Lee – quintessential to his better life – bravo, he was my favourite! I laughed long after he delivered his line of ‘what on earth would I do in the kitchen, I don’t even know where it is’ – I daresay that would have been true for many a wealthier early-century gentleman.

Gertie played by Amelia Dumesny was a breath of fresh air in her acting, I felt she really did play opposite Sybylla beautifully in giving to her family and showing genuine sisterly love for Sybylla. Brother Horace played by Oberon Rothman also gave a compelling speech to Sybylla, and their father Richard played by Michael Hoffman was exactly rightly cast to be both a positive and negative influence on his family.

The family of Mr McSwat played by the hilarious Lachlan Turner were all excellent! Lachlan’s exaggerated persona worked his role on par as any professional (my Mum loved his antics). Little Arto playing ‘Jimmy’ was a cutie, as were Paddy and Lilibet playing cheeky ‘Tommy’ and ‘Katie’. Vivienne and Hannah playing ‘Maggie’ and ‘Rose-Jane’ were eagerly switched on in being naughty, and Ruby Nelson playing Lizer was exceptional – I noticed her in the clan even before her role took on a feature in the script. Mrs McSwat played by Anja Harley had a fantastic accent of country Aussie bush life and Alex Smith playing Peter (also taking a shine to Sybylla) was fun in his quiet shy way. We loved this rough and tumble family.

Worth mentioning too is that this play is derived from a semi-autobiographical book written more than a 100 years ago by Stella “Miles” Franklin. I wonder what Miles would think of today’s world where women can be anything they desire in majority of countries, but not all, as somewhere in the world today there are women who still live in cultures and environments struggling to be heard and educated for a better existence, the world for them today is not dissimilar to that of Sybylla’s.

MY BRILLIANT CAREER is a triumph of writing and taking that written work of yesteryear to the stage today is quite an achievement. Congratulations to Producers Penny McLeod and Matt Baker, Director Lisa Graham, Assistant Director Flo Roney, Stage Manager Warren Easley, Set Designers Claire Norman & Lyle Russell, Lighting Design Tegan Evans and all the creative team – an example of exemplary regional community theatre working at its best!

I thoroughly encourage others make the drive from surrounding areas for the Warrnambool Theatre Company’s next show ‘& JULIET’ playing 3-10 January 2026. If you live locally – go see everything this company produces – what a treat to have your theatre easy to get to, easy to park at, restaurants close walk and great bar service at interval. Not things we always get queuing up in Melbourne. Accommodation for anyone living further away too is affordable with plenty of choices.

Ticket and information link: https://www.warrnambooltheatrecompany.com/

Theatre venue: https://www.lighthousetheatre.com.au/

Our Accommodation: Magpie Lodge B&B (highly recommend)

CAST:
Sybylla Melvyn – Mia Copland (Flo Roney understudy)
Harry Beecham – Elliot Cooper
Grannie Bossier – Kate Head
Lucy Melvyn – Angela Verspay
Richard Melvyn – Michael Hoffman
Aunt Helen – Hannah Bellamy
Gertie Melvyn – Amelia Dumesny
Horace Melvyn – Oberan Rothman
Uncle JayJay – Jeremy Lee
Mr McSwat – Lachlan Turner
Mrs McSwat – Anja Harley
Peter McSwat – Alex Smith
Lizer McSwat – Ruby Nelson
Jimmy McSwat – Arto Bellamy
Tommy McSwat – Paddy McKane
Maggie McSwat – Vivienne O’Brien
Rose-Jane McSwat – Hannah Rothman
Katie McSwat – Lilibet Bellamy
Frank Hawden – Dean Field
Blance Derrick & Midwife – Heidi Benz
Aunt Gussie – Eila Lyon
Mary O’Farrell – Lousie Rothman
Tramps & Guests – Jo Owen, Annemaree Stonehouse, Margy Jackson, Ace O’Dwyer, Ross McCorkell.

Photography credit: Greta Punch

To book tickets to My Brilliant Career, please visit https://www.warrnambooltheatrecompany.com/current-production.

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Are You There?

Are You There?

Are You There? Rating

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Are You There is a humorous, authentic, and unexpectedly tender play set within the bustling, sometimes chaotic office space of an aged care facility. The story follows three women whose lives intersect in ways that are both ordinary and profound. At its centre is Pia, played with grit and vulnerability by Melanie Madrigali. Pia is an overworked, under-supported single mother, stretched thin between the needs of her family and the fragile older adults she protects with fierce devotion. Madrigali balances sharp humour with emotional honesty, showing Pia’s resilience as well as the cracks that form when compassion is stretched too far.

She is joined onstage by two strong performers who bring texture and contrast to the dynamic: Jane Clifton as Colleen, the loud, cheeky, and larger-than-life colleague whose bravado covers her own insecurities, and Rosemary Johns as Lauren, the dementia-affected yet luminous figure whose presence is ethereal and quietly heartbreaking. Johns’ portrayal avoids caricature, offering a delicate, humane look at how memory loss reshapes identity while still leaving room for flashes of wisdom and spirit. 

Playwright Irene Korsten has crafted a script that balances humour and poignancy. Rather than falling back on stereotypes, she gives each character dimension and complexity, inviting audiences to see them as fully realised people rather than mere archetypes. The dialogue flows with a natural rhythm, peppered with wry observations and moments of raw honesty that feel instantly recognisable. Rachel Baring’s direction amplifies this authenticity. The staging feels as though the audience has been invited directly into the staffroom of an aged care home, watching real people negotiate frustrations, laughter, and moments of grace. The pacing is nimble, allowing both comedy and contemplation to breathe.

The interplay between the three characters provides a dynamic ebb and flow of energy. Conversations spiral from workroom banter into unexpected meditations on spirituality, mortality, and family. Particularly striking is Madrigali’s ability to hold the stage even when “acting against no one”. Whether speaking into a phone to patients’ families or to her own child. These moments showcase her precision as a performer and highlight the isolation of carers who are often pulled in many directions at once.

What gives Are You There its staying power is not just its humour or characterisation, but its resonance. The show nudges the audience to consider their own connections to family, community, and the people who quietly sustain both. In its gentle way, it encourages gratitude for those who care, often without thanks, and for the fragile bonds of connection that give life meaning. Walking away, I found myself reflecting on my own relationships and the small yet profound ways we hold each other up.

This is a sweet, sensitive, and deeply human play. One that laughs at the absurdities of life in an aged care office while reminding us that connection is what ultimately keeps us grounded. Are You There is proof that sometimes the most ordinary settings yield the most extraordinary truths.

To book tickets to Are You There?, please visit https://www.theatreworks.org.au/2025/are-you-there.

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The Real History of The Fairytalers

Fairytalers

Fairytalers Rating

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5

Once upon a time, four fabulous French femmes invented the fairy tale. Not the Grimms. Not Disney. The Fairytalers is a high-energy, history-reclaiming joyride now showing at the Meat Market, and it’s everything your glittery, story-loving heart desires. This whirlwind of a show resurrects the nearly-forgotten lives of Charlotte, Catherine, Marie, and Henriette. The original “Conteuses Précieuses”, who spun tales of ogres and enchanted creatures while battling very real societal monsters of their own: convents, towers, scandal, and patriarchy. Writer and director Ellis Austin Finnie takes these women out of the dusty archives and drops them smack bang into the spotlight, where they absolutely belong.

The concept is simple but striking: the women, now deceased, are deeply unimpressed that the Brothers Grimm got all the credit. They’re trying to uncover any mention of themselves in the modern world. What follows is a meta-theatrical, heartfelt, and hilarious retelling of their legacies, peppered with outrageous storytelling, shadow puppetry, paper crowns, and plenty of fourth-wall-breaking sass.

The cast? Divine.
• Emily Farrell is a scene-stealing delight as the flamboyant and witty Catherine D’Aulnoy.
• Janine Kwok brings warmth and cheek to the quietly passionate Marie L’Heritier.
• Olivia Morison’s performance as Henriette de Murat is grounded and graceful, laced with steely elegance.
• Daisy Valerio is luminous as Charlotte-Rose de Caumont de La Force, commanding both comedy and heartbreak with ease.

 

 

The minimalist set by Fiona MacDonald is cleverly functional and the cast shift the pieces around like magical stagehands, transforming spaces with ease and energy. MacDonald’s costume work also shimmers with imagination, nodding to both period aesthetics and playful theatricality.

The lighting and sound design (by Ashleigh Basham and Justin Heaton) enhance the fantastical atmosphere without overpowering the performances. The shadow puppetry sequences, tales told in flickering silhouette on a screen, are especially enchanting and add a lush visual layer that adds to the whimsy.

But beyond the sparkle, this show lands an emotional punch. It’s a celebration of the women who used stories as a means of survival and resistance when they had no other power. It asks: Is it better to be remembered by name, or by the impact you made, even if your name is lost?

By the end of the 90-minute journey, you’ll not only know their names, but you’ll want to write them in glitter across the sky.

An irreverent, intelligent, and emotionally rich love letter to the women who birthed fairy tales. Funny, fierce, and just the right amount of feminist rage wrapped in a velvet ribbon. Go see it. And bring a friend who still thinks the Grimms were first.

To book tickets to Fairytalers, please visit https://www.ellisaustinfinnie.com.au/fairytalers.

Photographer: Freya Valerio

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The Machine Stops

The Machine Stops

The Machine Stops Rating

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1

‘THE MACHINE STOPS’
Stage Play adapted by Briony Dunn from the short story by E.M. FORSTER.
Playing at TheatreWorks, St Kilda from 23rd – 30th August, 2025.

All fans of dystopian novels marvel at the predictions George Orwell made in his 1949 novel, ‘1984’ with many of the tech ideas proving to be true today.

E.M. Forster’s short sci fi story, ‘The Machine Stops’, from 1909, did the same thing way before Orwell did, and was then republished in 1928, translated into 10 languages and voted one of the best novellas up to 1965. During this time, the electric shaver, the television and landing on the moon all seemed sci fi to the masses.

In 2025, our modern-day debate heats up on whether Artificial Intelligence (AI) will destroy humanity and there are strong arguments on both sides, but there’s no denying AI systems that surpass human intelligence, or misalign with human values, could potentially lead to disaster.

Briony Dunn, Head of Writing/Directing and Stage Management at COLLARTS, has adapted Forster’s story for today’s stage, directed it, and co-designed the set for this Theatre Works production, along with Set Designers, Betty Auhi and Niklas Pajanti. Pajanti also designed the lighting, whick pulsates creatively, synchronising with the mood throughout the script, strikingly and is both ominous and futuristic.

 

 

The story is set in a world where humanity lives underground and relies on a giant machine to provide its needs. It predicts technologies similar to instant messaging and the internet. Forster pointed to the technology itself as the ultimate controlling force.

Both the set and the lighting are innovative and represent well the way the story would have played out in 1909 – or 1928 – and the way we may see an underground world today. The set imposes from the start, floor to ceiling metallic pillars – not quite to the floor – representing the control of the machine and symbolising its instant messaging, its regulatory power over its subjects, with its geometrical sequence on stage, columns lined in order, 4 x 4 presenting the boundaries humans live within, in a secular way. Only a single chair to the right breaks the sequence on stage.

We are introduced to a mother, Vashti, from the shadows backstage, moving slowly towards the light, which I felt could have been more powerful if done in much less time.

Mary Helen Sassman plays Vashti, Kuno’s mother, however they live on opposite sides of the world, both literally and emotionally.

Dunn’s play also realises this point drastically, focusing on the mother and the son, a juxtoposition without physical connection – at first.

Slick screen projections display grey communication between Vashti and Kuno, similar to our “Face-time”.

In Forster’s story, Vashti is content with her life, producing and endlessly discussing second-hand ‘ideas’ and using her work to avoid real in-person time with friends. Shades of social anxiety during Covid came to mind. Fascinatingly, this prediction from over a century ago has become true of some people today, who take clickbait and three-second sound bites from social media as their truth and real news.

In Briony Dunn’s stage play, Vashti is seen to contrast between happiness and habitual loyalty to the machine with a soul destroying, maniacal loneliness that Sassman portrays too well, almost as if she’s become part of the machine herself.

Kuno, played by Patrick Livesey, returns to his mother (and us) with the raw truth – quite refreshingly. Livesey’s performance had the energy of Richard Burton in Gielgud’s 1964 Hamlet, especially with his delivery of this soliloquy…

“We created the Machine, to do our will, but we cannot make it do our will now. It has robbed us of the sense of space and of the sense of touch, it has blurred every human relation and narrowed down love to a carnal act, it has paralyzed our bodies and our wills, and now it compels us to worship it.”

I look forward to seeing Livesey’s future performances.

A particularly clever scene when the machine finally stops and Vashti can no longer press buttons to satisfy her every need, shows Sassman’s Vashti spiraling desperately out of control.

Dunn’s ending is as Forster wrote and her adaptation is just as successful in providing a warning to humanity that its connection to the natural world is what truly matters.

To book tickets to The Machine Stops, please visit https://www.theatreworks.org.au/2025/the-machine-stops.

Photographer: Hannah Jennings

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