A Twist of Fate Season 5: When Silent Film Characters Step Through the Screen

Feature-A Twist of Fate Season 5

A silent film that breaks through the screen and spills into the theatre is just one of the surprises waiting in Scary Goats Theatre’s latest anthology season. Chloe Towan, who serves as the narrator, director, and writer for A Twist of Fate Season 5, shares insights into this production, which promises shocking twists wrapped in quirky humour.

About The Show – A Twist of Fate Season 5

What is this show about?

A Twist of Fate is an anthology series inspired by The Twilight Zone and Black Mirror. The show features four short plays, each with a devastating twist or reveal.

Season 5 features the following plays:

Not So Black and White by Chloe Towan
Come with us back to the Silent Era as we present a silent comic melodrama, where not everything is as it seems…

We Live to Serve by Charlie Simmons
In a world ravaged by global warming, an outmoded butler vies for the last ticket on a transport to a better place.

Muffin Day by Richard Mealey
In a modern office, Ronnie is forced to re-live the worst day of her life. But, is there way she can find forgiveness?

Two Characters in Search of a Memory by Chloe Towan
When two people wake up in a dark void with no memory of who they are or what happened to them, they must work together to uncover the truth.

How would you describe this show to someone who has never seen anything like it before?

The show is like The Twilight Zone meets Black Mirror, but with a lot of campy humour!

What is the moment in the show you most look forward to performing?

I play the Narrator and do little introductions to each play which are always a lot of fun. I’ve also directed one of the plays and written two of them.

This season we’re really experimenting with genre and form and have some really exciting concepts we can’t wait to get in front of an audience. There are some really shocking twists this season, and I can’t wait to see the audience reacting to them!

How did this show come together? What was the creative starting point?

I originally came up with the idea of A Twist of Fate in 2024 at Halloween, when I thought an anthology show would be a great way to get some cool and experimental theatre on the stage. We launched A Twist of Fate in January 2025, and have now performed four main seasons and two specials.

Chloe Towan

What is the element of the show that is hardest to explain but unmissable in person?

This season features a silent film story. It starts off as a silent film we’ll project onto the screen, but when it reaches the halfway point the characters discover a portal that leads into the theatre. It’s like nothing we’ve ever done before and we think people will be really surprised by what we’ve created.

Who is this show for? Who is going to have the time of their life?

SGT pride on ourselves on making ‘theatre for misfits, by misfits’. Anyone who likes their theatre a little on the dark, kooky or unhinged side will have an absolute blast at the show.

What is going to genuinely shock or delight people?

Each of the four plays has its own twist (or, in some cases, twists). The fun in A Twist of Fate is always in trying to guess the twist as you watch the show, and I think audiences will have a ball trying to work out what’s going on in these three plays.

How long have you been developing this material, and what has changed along the way?

We operate on a two-month turnaround. Our writers meet up to create their plays, we go through a workshopping process, and then we rehearse the plays with our talented ensemble of actors.

What do you want the audience to feel in the final moment?

The plays we have this season, despite their unusual premises, each tell stories of hope, forgiveness and perseverance, and we hope our audiences can leave the theatre feeling inspired in these dark times.

What is the best reaction you have ever had from an audience to a moment in this show?

In our last season, we had the audience cheer when a particularly nasty character was defeated. We’re particularly hoping to get some very loud audience interaction in our silent film play.

Is there a story behind one of the key routines or segments?

My silent film play I’ve written is a deep love letter to silent cinema and features many visual call-outs to some of my favourite silent films.

Is there anything else you would like to share?

We hope audiences come to and enjoy A Twist of Fate!

Thanks to Chloe for pulling back the curtain on what sounds like the most genre-bending season of A Twist of Fate yet; that silent film portal concept alone sounds unmissable. If you like your theatre dark, kooky and delightfully unhinged, grab your tickets through Eventfinda and see if you can guess the twists before they hit.

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Comedy Legend Stephen Curry Is The King Of The Castle In Monty Python’s Spamalot!!!

Feature-MONTY PYTHON'S SPAMALOT

MELBOURNE & SYDNEY: Drew Anthony Creative is thrilled to reveal the sensational new cast for the upcoming east coast season of MONTY PYTHON’S SPAMALOT. Legendary Australian actor and comedian Stephen Curry will make his musical theatre debut, stepping into the regal shoes of King Arthur. Sharing the spotlight with Stephen will be powerhouse vocalist and theatre performer Jaz Flowers, who will star as the enchanting Lady of the Lake for the Melbourne season – while the celebrated musical theatre star Marney McQueen assumes the mystical role for the Sydney performances. The production will also feature the sharp comedic wit of rising stand-up comedian and Tik Tok sensation Nick White, tackling the formidable role of Man of Many Characters.

Stephen Curry is a household name in Australian entertainment, etched into the national psyche since his breakout role as Dale Kerrigan in the cinematic classic The Castle. A versatile and celebrated character actor, his recent screen triumphs include standout roles in Population 11, Bay of Fires, and Ten Pound Poms, as well as an appearance in the blockbuster Thor: Love and Thunder. His distinguished career across the small screen spans beloved titles such as Fisk, Rake, Cloudstreet, and The Secret Life of Us. Stephen’s masterful portrayal in The King earned him the trifecta of an AFI Award, a Silver Logie, and an ASTRA Award for Best Actor. Further accolades include a Film Critics Circle Award for his work in Hounds of Love and a prestigious 2024 Silver Logie nod for Bay of Fires.

Award winning performer, Jaz Flowers will take on the role of the mystical diva, The Lady of The Lake at Melbourne’s Athenaeum Theatre from September 16 until October 4. Jaz is best known for her Sydney Theatre Award-winning and Helpmann-nominated portrayal of Tracy Turnblad in Hairspray. Her stage career includes acclaimed roles as Veronica Sawyer in Heathers The Musical, Oz in We Will Rock You, and April in Hot Shoe Shuffle. Jaz’s other credits include a Helpmann-nominated performance in Fame The Musical, as well as roles in Shane Warne the Musical and Cabaret. She was also a featured artist on The Voice on Keith Urban’s team.

Charismatic Australian performer Marney McQueen, who recently delivered a stellar performance as Celine Dion in the hit show Titanique is widely regarded as one of Australia’s most versatile performers. For the season at the Sydney Event Centre at the Star Sydney from 15 – 18 October, and the Coliseum Theatre in Western Sydney from 22 – 25 October, Marney will bring her comedic and vocal prowess to the role of The Lady of The Lake. Marney’s extensive career has seen her tour the world in both musical theatre and comedy. Her theatrical credits include her debut in the Australian premiere of Priscilla Queen of the Desert – The Musical, starring as ‘Velma Von Tussle’ in Hairspray, and appearing as ‘Nina’ in Dreamlover alongside David Campbell.

One of the fastest-rising figures in Australian comedy, Nick White has built a massive following with his unique blend of sketch comedy, characters, and impressions making him an ideal choice for the demanding role of Man of Many Characters. After originally training as an architect, Nick transitioned to comedy full-time in 2022 and has since amassed an enormous following on social media, and performed at some of the world’s most iconic stand up comedy venues. This role will also be Nick’s musical theatre debut.

“I am absolutely thrilled to unveil such an exceptionally gifted company of performers. This production is both hilarious and inspiring, and this cast is perfectly poised to breathe life into these wonderful characters,” said producer/director Drew Anthony. “Following our stellar run in Perth, the initial reaction to this show on the east coast has been astounding. People are clearly looking for the brighter side of life right now! I encourage everyone to secure their seats soon as possible!”

Further cast announcements will be made in the coming weeks.

MONTY PYTHON’S SPAMALOT features Eric Idle’s book and lyrics alongside a score by Idle and John Du Prez, offering a hilarious and irreverent parodic of musical theatre filled with show-stopping vocals and tap-dancing knights. A contemporary landmark, SPAMALOT won three Tony Awards after its 2005 Broadway debut.

MONTY PYTHON’S SPAMALOT will play at the Athenaeum Theatre from 16 September until 4 October. The show will play at the Sydney Event Centre at the Star Sydney from 15 – 18 October, before transferring to Coliseum Theatre in Western Sydney where it will play from 22 – 25 Oct 2026.

Tickets will go on sale to the general public for Melbourne on Friday 19 June and for Sydney on Monday 29 June via www.ticketmaster.com.au.

This production is recommended for audiences 12 years +.

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Between The Lines

Between The Lines: The James Joyce-Groucho Marx Letters

Between The Lines: The James Joyce-Groucho Marx Letters Rating

★★★★★

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It feels odd to describe a stage show as ‘literary’ and ‘cinematic’. However, that kind of genre blurring perfectly suits the premise of Between The Lines, a show revolving around letters exchanged between James Joyce and Groucho Marx in 1937. If you aren’t familiar with either man’s work, don’t worry. Bloomsday In Melbourne’s annual play (directed by Renee Palmer) gives you more than enough reason to care about these artists and understand why their work and ideas matter. The show doesn’t only care about the things great men create, but also about who gets to keep their legacies alive.

The aforementioned letters in Between The Lines are uncovered in 1987 by Pandora (Seon Williams), a headstrong PhD graduate with an infectious passion for history. Unfortunately, many barriers stand between her and recognition, such as academic snobbery, uncooperative estates and sexism. She recruits renowned Joyce scholar Murray Dalton (Shannon Woollard) to assist her, but they may not be collaborating on as equal footing as they think. The letters themselves are also revealed, with Joyce (Tref Gare) and Marx (Scott Middleton) revealing more and more personal truths about their families, fears and ideas about art.

The show’s design is what gives it the cinematic feel mentioned earlier. The way Joyce and Marx are lit and placed creates exaggerated shadows and a simultaneous sense of distance and closeness, drawing the eye between them as easily as a panning camera. The costumes are loving send-ups of period fashion that still make their characters look stylish. The classical music score gives a great sense of grandeur, especially in scene transitions, though some of the sound effects (such as the pen scratching when letters were dictated) bordered on being distracting. The overall effect reminds me of ‘dark academia’ with its simultaneous glamorization and critique of the world’s intellectual ivory towers.

 

 

The cast has cultivated performances that fit well in this heightened world of mind games and artistic politicking. Gare and Middleton portray Joyce and Marx fantastically. Their idiosyncratic writing styles feel so natural when spoken aloud, the chemistry is palpable despite them speaking in letters rather than directly to each other, and one of my favourite parts of the show was how they quietly reacted to the 1987 scenes in the background while watching them unfold. Williams and her mother (Christina Costigan) are likeable and play into the script’s tropes well. I felt like I was watching a sitcom during their scenes at times – even at their most serious there was something comforting about them. The same can’t be said for when Pandora gets in the room with Murray. Woollard makes for a perfectly pretentious villain, and it’s satisfying to watch him at both his worst and at his meekest, when Pandora doesn’t let the world revolve around him.

Steve Carey’s writing style is what makes this show somewhat ‘literary’. This shines in the Joyce/Marx scenes, where their dialogue feels period accurate but still distinct, witty and full of pathos when it needed to be. In the more naturalistic scenes set in 1987, the writing felt a bit slower and more laboured, and at points the trivia and backstory the characters went into seemed superfluous. Also, without spoiling it, while the ending was set up well and made sense for the characters, some parts felt implausible and it diminished the impact of some of the play’s more powerful scenes. Nevertheless, I thought the play balanced its tragic and comic moments well and made some clever parallels between scenes in the two time periods to tie everything together.

Every year, June 16th is marked by Bloomsday, a celebration of James Joyce and his work. This show is part of Melbourne’s Bloomsday programming, and it highlights hat Bloomsday isn’t just a day to revere the brilliant work of one great man, but a time to reflect on history. Through a unique writing style, larger-than-life performances and enticing design choices, Between The Lines brings historical characters alive for us to laugh with, empathize with and critically observe. Legacies are created by people, and one message of this show is that more people should be invited to carry the stories we love forward in time. The team behind this show has certainly proved that they’re worthy keepers of their story.

To book tickets to Between The Lines: The James Joyce-Groucho Marx Letters, please visit https://fortyfivedownstairs.com/event/between-the-lines-the-james-joyce-groucho-marx-letters/.

Photographer: Jody Jane Stitt

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Fun! Laughs! Good Times!

Sweet Charity

Sweet Charity Rating

★★★★★

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Opening night of Sweet Charity at Chapel Off Chapel, Friday, 19th June, 2026.

Heirlume Productions presents the iconic Bob Fosse musical, Sweet Charity, with support from Forest Collective, the award-winning Australian arts organisation founded in 2009 by composer and conductor Evan Jay Lawson. Playing at Chapel Off Chapel from 18 to 28 June, this production brings together Heirlume’s theatrical vision with Forest Collective’s musical expertise in a successful and masterful collaboration.

Sweet Charity, written by Broadway legend, Neil Simon, with a great score by Cy Coleman and lyrics by Dorothy Fields, has always been a musical fan favourite.

Taken from the plot of a 1957 Italian film about a streetwalker, Nights of Cabiria (Le notti di Cabiria), Simon’s musical rendition kept four of the film’s landmark moments. Conceived, staged, directed and choreographed by Bob Fosse for his wife, the irrepressible Gwen Verdon, Sweet Charity premiered on Broadway, New York, in 1966 and was nominated for nine Tony Awards with a win for Fosse’s unmistakeable quirky and technical choreography. Let’s just say, Fosse made it his own.

So, no surprise the opening night audience at Chapel Off Chapel were bustling with excitement ready to soak in its many hit songs and, to experience that fabulous Fosse feeling, however, we were not prepared for how tight, fabulous and professional this production and its cast were going to be.

Director, Madison Lee, has reinvigorated the beloved characters and legendary score with a “queer love story and a tale of self-acceptance.” In her Program Director’s Note, Madi reminds us that “Charity Hope Valentine is a woman who wants to be loved completely resisting against a world that has given her very little reason to keep believing….” Except for, “…her chosen family, the people who hold us when we get back up and remind us who we are when the world tries to tell us otherwise.”

 

 

Lee has directed a female ensemble so strong and diverse, most playing multiple parts, I haven’t seen the likes of together in years:

Experienced VCA graduate, Erica Wild, fresh back from West End, U.K., embodies Charity Hope Valentine with honesty and sweetness. Wild is hardly ever offstage but gives everything she has to this role, with all her innocence and energy. She is easy to love.

Producer, Heirlume founder and Productions Artistic Director, Manda Rozen-Flannery, says of Charity, “…something feels inherently neurodivergent … about her.” Wild captures this perfectly.

Wild is supported by second leads, Madeline Pratt as Nickie and Hannah Gutierrez Cañon as Helene, playing two seasoned dance hall girls weathered and baffled by Charity’s naivety.

Choreographer and educator, Pratt is powerful in singing, acting and dancing.

For Cabaret performer and former National Latin dance Champion, Cañon, new to the Musical Theatre industry, her dance expertise is obvious.

As is the dance talent of Tyler-Rose Shattock, who charmed us as an excellent Frug Girl in the nightclub scene. Shattock also stands out with all her other characters.

Extremely talented and versatile Sara-Louise Younger plays both the Herman and Daddy characters. Her version of ‘Rhythm of Life’ along with the whole cast, was simply transformational. Singing gospel one minute and opera the next, her range and voice is unique to Australia.

Supported by Alessandra Negro as Ursula, Eden Holmes as Carmen, Lisa-Marie Coad as Betsy and Bridie Erwin-Keirl as Rosie, all playing multiple other roles, the hard work and camaraderie of the whole troupe beams and was just a pleasure to watch.

Clancy Enchelmaier plays the only three male roles, from Charity’s bad choice of boyfriend at the start to movie star, Vittorio, to romantic lead, Oscar. His distinguished voice and range is strong.

This show is also excellent creatively:

The audience was delighted with Jesse Matthews’ choreography. He is resident performer and choreographer for Forest Collective. Matthews paid tribute to Fosse’s unmistakeable 60’s style keeping the line of the classic number, ‘Big Spender’ while adding a touch of difference.
Even in this smaller production, the choreography shines and was one of the highlights of this show.

The iconic dance scene from the Sweet Charity movie, titled, “The Aloof” is a perfect blend of elegance, satire, and stylistic brilliance in storytelling. There is no expression on any of the dancers’ faces in “The Aloof”, however, in this production, Matthews / Lee have decided to arm Shattock’s Frug girl with sexiness and smiles, energising us into the vibe of a nightclub, also switching us away from the dim of the dance hall.

Forest Collective Artistic Director, contemporary composer, singer and conductor, Evan J Lawson, and Composer, Pianist and Musical Director, Max Kielly are co-musical directors on Sweet Charity and are sharing time in the conducting of the orchestra, with Orchestrator, Shanon Whitelock. It’s obvious this has been a very successful collaboration.

An energetic score that is usually undertaken by a full orchestra has been executed with precision by this award winning and versatile crew of six musicians, Thomas English on woodwind, Bodhi Scott-Jones on trumpet, Max Kielly on keys,
Felix Gilmour on percussion, Benjamin Lamb on guitar and Ian Crossfield on upright & electric bass.

The shows’ Costume Designer, Zachary Dixon, has pieced together items that tell a story throughout each scene, from Charity’s gingham print summer dress – she probably wore from her hick town into the big city dance hall for work – to Nickie and Helene’s Lingerie variations, to Daddy’s hippie church group collections, the costumes are colourful and timely in the best way.

Lighting Designer, Ruben Laine, Sound Designer, Lukas Battey and stage manager, Samara Louise have connected all of these dots seamlessly to present to us a stage of scaffolding representing the dance hall above and the dressing rooms below, as well as the highs and the lows of their lifestyle.

I enjoyed this show so much, I may attend once more.
If you can get tickets, hurry up and get them now before they sell out.
This show is not to be missed.

@heirlume.productions
@evanjlawson
@itsmadilee
@erica_wild
@manda.rozenflannery
@madeline.pratt
@chacha_chilena
@tylerrose_shattock
@slyoungerparker
@clancy.ench
@jesse_matthews99
@maxkielly
@shannondw

To book tickets to Sweet Charity, please visit https://chapeloffchapel.com.au/show/sweet-charity/.

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