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SAINTING JOAN: A New Rock Musical

22/05/2026 Debra Campbell🥇🔥🦉🎭🎶

Sainting Joan Rating

★★★★★

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‘Sainting Joan’ playing now!

Saint Peter’s Basilica is filled to the brim with spirits as preparation for the sainting begins. Nearly five hundred years after the English burned her at the stake, the French hero is getting officially recognised. Jealous kings and corrupt judges play devils advocate to Joan’s legacy, while the spirits of her friends and allies remember her courage, impact, and general bad-assery.

This impressive piece of new work written by VCA graduate, ABIGAIL BANISTER-JONES (also playing the lead role of Joan), is a jovial and somewhat educational look at the life and times of Joan of Arc. A significant person in history, I knew little of Joan before seeing this rock musical in St Kilda opening with a full audience!

A fire rock-musical production of original songs and dialogue engages the audience to feel transported to the canonisation of Joan after her actual death date. Will they or won’t they make Joan a saint? Should they or shoudn’t they? Ghosts of Joan’s time, including Joan herself, take us on the journey of poor peasant girl to a mighty leader saving France.

A cast of 8 talented Melbournians rock out to music with an impressive band of drums, guitar, bass and keyboard playing at the back of the stage in full view the entire show. At first, I thought that might be distracting but as there are no ‘scene’ changes you will quickly become involved in what is going on in front of you and just enjoy the music coming from the rear complementing the overall story perfectly.

Costuming is fantastic. A predominantly red, black and white colour scheme is used extremely well. The red sheer over Joan in her time of passing I thought was exceptionally done and how the actor underneath didn’t lose the fine fabric amongst a lot of movement was well rehearsed.

I absolutely loved the folding arms circling trio looking spooky with a complete change in their facial expressions to relate to the doom of Joan and how she does what she does explained by the threesome in words and song and facials was thoroughly entertainingly entrancing to watch. My favourite scene for sure.

The choreography is to be commended lots of very clever combinations and performed with precise spacing from everyone, big cheer!

The King is expertly played on all counts as is Archbishop (my favourite character overall), typical of the era are their accents and hierarchy displayed, and with some fast and extensive lines I really thought these two together were great fun particularly in the more comic moments. My friend I took along loved the General and as a singer herself noted some beautiful harmonies here too.

‘God is not French!’ had us all laughing along with a ton of other witty quotes and unexpected outbursts.

Bravo to the entire cast and creative team behind what I can see could become a sold out season.

Please do go and support this small theatre and its productions:

https://www.theatreworks.org.au/2026/sainting-joan

Playing 20-30 May at the Explosives Factory. Entry is via a laneway, upstairs and they offered bar drinks and snacks before the 80min show with no interval. The 80 minutes flew by!

WRITER/DIRECTOR – Abigail Banister-Jones

MUSIC DIRECTOR/ARRANGER – Lachlan Obst

CHOREOGRAPHER – Francesco Mandarino

COSTUME DESIGNER – Hannah McGlinchly

LIGHTING DESIGNER – Stuti Ghosh

STAGE MANAGER – Lowana van Dorssen

CO-PRODUCER – Janvi Sikand

CAST

JOAN OF ARC – Abigail Banister-Jones

KING CHARLES – Emerson Hansford

ISABELLE – Bek Schilling

ARCHBISHOP – Cassie Ogle

DEVIL’S ADVOCATE – James Colbourn-Keogh

GENERAL DUNOIS – Gemma Caruana

PRINCE LOUIS – Riley Street

ROBERT DE BAUDRICORT – Brittany Ng

BAND

KEYS – Lachlan Obst

GUITAR – Timothy Chivers

BASS – Lou Hogue

DRUMS – Victoria Mertonidis

To book tickets to Sainting Joan, please visit https://www.theatreworks.org.au/2026/sainting-joan.

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The Smash-hit Broadway Musical A Beautiful Noise: The Neil Diamond Musical Is Coming To Sydney

18/05/2026 Breaking News

Feature-A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL

Producers Paul Dainty and TEG Dainty, Ken Davenport and Bob Gaudio are thrilled to announce following its highly anticipated Australian premiere in Melbourne in August 2026, the internationally acclaimed production A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL will play a strictly limited season at The Sydney Lyric from November 2026.

Tickets for A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL in Sydney will be released first to waitlist members with an exclusive pre-sale commencing Tuesday 9 June, ahead of the general public on sale from Monday 15 June. Join the waitlist here www.theneildiamondmusical.com.au for tickets.

Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chartbusting, show-stopping American rock icon. With 140 million albums sold, a catalogue of classics like “Cracklin’ Rosie”, “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway – and the world.

Like Jersey Boys and Beautiful: The Carole King Musical, A BEAUTIFUL NOISE is a deeply personal and electrifying theatrical experience, charting Neil Diamond’s rise to superstardom through the songs that defined his life and career.

Neil Diamond’s connection with Australia spans nearly half a century of music and memories. He has toured here seven times with promoter Paul Dainty AO, from the landmark Thank You Australia tour in 1976 through to 2015, with his music resonating deeply with audiences. His iconic 1972 live album Hot August Night spent 29 weeks at number one and 65 weeks on the chart, making it the third-longest-charting album of its era in Australian music history.

“Some of my most thrilling nights have been while sharing my music with audiences around the world,” said Neil Diamond. “A BEAUTIFUL NOISE has already had an incredible journey on Broadway and is currently touring across the U.S. and it’s an incredible honour to see it heading to Melbourne and Sydney. I hope Australian audiences enjoy the show as much as I have.”

Producer Paul Dainty AO said: “Sydney has always had a deep connection with Neil Diamond’s music, and I’m delighted that audiences there will experience this extraordinary production following its Melbourne premiere. There has already been remarkable demand in Melbourne ahead of opening, which speaks to the enduring place Neil’s music holds in the hearts of Australians. This musical is a powerful celebration of his life and legacy, filled with the songs that have meant so much to generations. It’s an honour to bring this story to the Sydney stage.”

Producer Ken Davenport said: “A BEAUTIFUL NOISE has connected with audiences around the world because it’s more than a musical — it’s a deeply human story told through one of the greatest songbook of all time. We’ve been thrilled by the extraordinary response already building in Melbourne, and we’re excited to bring that same energy to Sydney audiences later this year.”

The Australian cast of A BEAUTIFUL NOISE is led by Broadway star Will Swenson in the titular role Neil Diamond – Then, bringing his acclaimed, award-winning performance to Australia for the very first time.

Joining Swenson is an exceptional company of Australian talent, featuring principal cast members Terence Crawford (Neil Diamond – Now), Ashleigh Rubenach (Marcia Murphey), Monica Sayers (Doctor), Alana Tranter (Jaye Posner), Tim Wright (Fred Weintraub / Tommy O’Rourke), Paul Hanlon (Bert Berns / Kieve Diamond), Hannah Fredericksen (Ellie Greenwich / Rose Diamond), with Rob Mallett (Standby Neil Diamond – Then), and Mark Owen Taylor (Standby Neil Diamond – Now, Fred Weintraub / Tommy O’Rourke, Bert Berns / Kieve Diamond).

Rounding out the company as “The Beautiful Noise” ensemble are Katrina Bickerton, Cameron Davey, Paul Leandre Escorrido, Matt Hourigan, Alana Iannace, Jerome Javier (Swing) Joshua Kobeck, Etuate Lutui (Shilo soloist), Anna Mallows (Swing), Jordan Malone, James Maxfield (Swing), Isabella Roberts, Sophie Tzioumis, Emma Wilby (Swing), and Erica Wild (Swing).

A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL is directed by Tony Award® winner Michael Mayer (Chess, Spring Awakening, Hedwig and the Angry Inch), choreographed by Olivier Award winner Steven Hoggett (Once, Harry Potter and the Cursed Child), and written by four-time Academy Award nominee Anthony McCarten (Bohemian Rhapsody, The Two Popes). The design team for A BEAUTIFUL NOISE features Tony Award winner David Rockwell (Scenic Design), Tony Award nominee Emilio Sosa (Costume Design), four-time Tony Award winner Kevin Adams (Lighting Design), Tony Award winner Jessica Paz (Sound Design), and Luc Verschueren (Hair, Wig and Make Up Design). The production has Music Supervision and Arrangements by Sonny Paladino, Incidental Music and Dance Music Arrangements by Brian Usifer, Vocal Design by AnnMarie Milazzo, and Orchestrations by Bob Gaudio, Sonny Paladino, and Brian Usifer.

A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL
Melbourne – The Princess Theatre, Previews commence on Wednesday 5 August, 2026.
Sydney – The Sydney Lyric, Previews commence on Saturday 14 November, 2026

For Ticketing information visit www.theneildiamondmusical.com.au

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Red Sky Morning

13/05/202613/05/2026 Jenni Peters⭐

Red Sky Morning Rating

★★★★★

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Tom Holloway’s award-winning play, Red Sky Morning, has returned to Melbourne at TheatreWorks, St Kilda, having been developed originally through Red Stitch’s INK program. (The play premiered at Red Stitch Actors’ Theatre in 2008.) Holloway is internationally acclaimed and this iteration certainly shows us why.

We are introduced to a family of three, who, even living together, exist without connection and within the loneliness of the outback. It’s no accident our characters are nameless because to me, they could be, or could have been, any one of us at any time, floating in limbo in those awful moments where so much is felt and nothing is said.

Over the course of one day, M, W and G’s stories unfold in a series of poetic, interwoven monologues that reveal love, regret, insecurity, addiction, shame, dependence, doubt, destitution, devotion, hopelessness and then, sometimes humour in the embarrassing little moments.

Performed superbly by Alpha Kargbo as “M, mid 40’s male”, Emma Choy as “W, mid 40‘s female” and Izabella Day as “G, late teens girl”, their individual scripts intertwine while rolling seamlessly, despite their characters’ lack of connection in this story. In fact, the three performed as one entity, each of them having had to learn all three scripts to achieve this and they delivered each of their roles with such precision. A technically challenging feat, brilliant and fascinating to watch. This result can only have been achieved by a trio who truly trust and believe in each other at all times.

Directed by Lyall Brooks, four-time Green Room Award Winner across mainstage, independent and musical theatre and assisted by Seon Williams, this 60-minute play seemed to me to be more like 30-minutes. Izabella Day said Lyall was a wonderful leader in this process, trusting his actors and giving thoughtful, insightful direction that continually strengthened their work. The flyer told us, “Directed by Lyall Brooks, RED SKY MORNING is a hauntingly beautiful Australian story that will stay with you; because it feels like home.” I certainly related to a couple of moments that felt like ‘home’ to me years ago.

Lighting Designer, Sidney Younger; Sound Designer, Jack Burmeister; Set Designer, Harry Gill; and Stage Manager, Jade Hibbert, have also excelled in their field, supporting the actors beautifully in this process.

In 2026, most of us are wiser to issues of mental health or an understanding of self-doubt, so I believe this piece is now easier to digest and even more important than it would have been in 2008.

I liked the ending, albeit a subtle hint well-placed within a couple of words, that left hope for the future of M, W and G.
Like the joy of seeing a pink, orange or red sky we know we are lucky to glimpse any rare morning, this play reminds us we must embrace the will to survive and move onwards and upwards – despite any feelings of despair or doubt.

Book tickets via Theatreworks.
Playing 6 – 16th May.
Then touring Victoria after its Theatreworks season:

Tuesday, 26 May – Portland Arts Centre – https://www.portlandartscentre.com.au/Whats-On/Red-Sky-Morning

Wednesday, 27 May – Hamilton Performing Arts Centre –
https://tickets.hamiltonpac.com.au/event/1004:780/1004:982/

Thursday, 28 May – Lighthouse Theatre Warrnambool –
https://www.lighthousetheatre.com.au/red-sky-morning

Friday, 29 May – Corangamite Theatre Royal Camperdown –
https://www.corangamite.vic.gov.au/Places-and-Events/Events-and-Festivals/Events-Calendar/RedSkyMorning

Saturday, 30 May – Bellarine Arts Centre –
https://app.geelongcity.vic.gov.au/bellarineartscentre/calendar/item/8de59cbde2db2f9.aspx

To book tickets to Red Sky Morning, please visit https://www.theatreworks.org.au/2026/red-sky-morning.

Photographer: Sarah Clarke

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All Bull

08/05/2026 Bronte Lemaire

All Bull Rating

★★★★★

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All Bull, written and directed by Walt Dyson, follows a group of five salesmen as they travel from pub to work to pub to work and spot a bull stampeding down the street. As the play progresses, employees Ben (Lousie Jameson) and John (Ashlynn Parigi) attempt to raise the alarm as the group and the rest of the city are turned one by one into bulls.

The show is a bit unpolished in a few ways, firstly its tone/style has difficulty finding a home. Joe and Jeff who were played by Emily Farrell and Emily Jenkins respectively, were written almost solely comedically, allowing the actors to lean into the ridiculousness of their characters. Farrell and Jenkins’ clowning energy were fantastic to watch and were real comedic highlights of the show. In comparison, Jameson’s Ben and Parigi’s John were more grounded. Their embodiments created men the audience felt they knew. However this does highlight that the play is unsure whether to commit to realism or camp, and therefore often lands awkwardly in between. There were more camp moments near the start, particularly when first spotting the bull, that I wish had been peppered more throughout.

The sound and composition by Junaid Eastman is a stand out production element. Transitioning from cow bells to clinking glasses, Eastman creates an unnerving environment from when the audience first enters and plays off the tonal layers throughout the show.

While I was particularly excited to see where the bull transformations fit in the themes, the allegory is a bit half baked and attempts to stretch without material to cling onto. The script attempts to make it explicit, spoonfeeding the audience direct lines about what it’s meant to mean, e.g. “bulls will be bulls,” while the allegory itself becomes inconsistent. The reasoning for why some of the men turn into bulls or are drawn to its appeal is underdeveloped. Additionally, the choice of making dangerous men monstrous and unintelligent is already a delicate game.

Though I give credit to the fact the script was attempting to branch out from sexual violence and misogyny – as many productions critiquing masculinity have focused their attention – it ends up being a vague what is being critiqued. It leans towards talking about male alcoholism, but we don’t see it actually cause many problems. In the director’s note Dyson references “drunken acts” he had witnessed, but few happen during the show, including none from Ben who is meant to be the raging alcoholic. It ends up not feeling grounded in these real world issues it’s alluding to, saying “drinking makes men act badly” without proving its claim or asking why. I think there is something in the cracks about how capitalism nurtures toxic masculinity, but it doesn’t develop far.

The show’s strongest moments were in the choreographed movement sequences and leaning into the physicalisation and aggression of the bulls. Faun Xe and Eden Bren were standouts in their bullish masculinity, even when doing a set transition the energy was palpable with clear hierarchical lines drawn. The staging did however at times feel static and awkward, often drawing my eye away from the main conversations.

All Bull attempts to examine Australian drinking culture, toxic masculinity and at times the manosphere, but ends up unsure in its thesis. I think with some more development and a confident through thread, this show could truly be something special. In a current climate where there is by no means a lack of theatre about masculinity, Dyson needs to be specific with what he actually wants to talk about.

To book tickets to All Bull, please visit https://www.eventbrite.com.au/e/all-bull-a-play-in-one-act-tickets-1984172243593.

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