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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Tarzan: The Stage Musical

Tarzan: The Stage Musical

Tarzan: The Stage Musical Rating

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10

The stage is set – I look at an enormous map of Africa, sails caught up with shipwrecked boxes and listen to the atmospheric opening sounds of the African jungle to soon be pierced by a baby’s cry – Tarzan’s cry, though he is not yet named ‘Tarzan’ – the next two hours will be his story.

TARZAN The Stage Musical has swung into life in Melbourne over the past couple of weeks and I’m so happy to have been invited to one of their final shows for review. I’ve seen three shows this week and this was my favourite – the other two were professional city shows so that’s saying something. My daughter could not believe she had been so engrossed when it was “interval already”. We sat next to one of the ‘Annies’ having a night off from playing her own famous character in the city currently, and when I asked her at interval what she thought thusfar she eagerly replied ‘I’m LOVING it!’ (excited to see her singing teacher in the cast too)

Get on the website to book the last tickets remaining until Sunday 14 Sept.
Ticket link: https://nationaltheatre.org.au/tarzan/

The blurb on the show told me:
TARZAN – The Stage Musical brings Disney’s epic animated film to life on stage in a high-flying action adventure, complete with aerial choreography and unforgettable music to the soundtrack of Phil Collins. Tarzan struggles to find where he truly belongs, torn between the animal kingdom and the human world. With book by Tony Award-winning playwright David Henry Hwang, at its core TARZAN is a story of identity, love, and the universal quest for connection.

Typically, the Disney TARZAN draws interest of course from adventurous kids, but there were more adults in the audience woo-hooing tonight and much of it for Joshua Russell as ‘Tarzan’ – the exact required look he definitely has and demanding skills for this unusual role; he strongly mastered those vine swings and strode a masterful ‘ape walk’ – his body must now be well adapted to that gait. Same for all the gorillas, excelling in their emulation of animal behavior and their acrobatic and dance which combine to give a seamless presentation of orderly uncontrolled chaos – there is so much going on, it’s exciting!

 

 

Usually I have a preference for certain characters by the end of a show, but in this one I didn’t, I liked them all and they were all played exceptionally well.

Seriousness and laughs from Jane and her father Prof. Porter were fun moments, played by Emily Robinson straight out of graduating from the VCA and Drew Holmes with an impressive history in shows too long to list.

Sarah Murr as ‘Kala’ (Tarzan’s ape-mother) is pure curated talent. It did not surprise me later to read about her role recently playing in Hadestown at Her Majesty’s. Matching up Sarah’s talents alongside Devon Braithwaite as ‘Kerchak’ (Tarzan’s ape-father) was perfect casting, and no wonder – he trained at The Boston Conservatory (USA). I’d love to see these two play again together in another show as non-animals after witnessing what they can do with a non-human role.

The scene where the gorillas inquisitively meet Jane and her Dad was both touching and tragic. The loss of one of Tarzan’s ape family had an empathetic music choice and the gun shots were unnervingly real, as was the formidable acting of Nick Eynaud as Clayton, jungle guide who had another goal on his agenda.

Emma Wilby Owers playing ‘Terk’ (Tarzan’s ape-buddy) nailed every line and expression, body movement and reaction. Another one to watch – there’s a heap of stars in this show!

Ollie Pearce as ‘Leopard’ brought the adrenalin rush, well focused with that slyly power and the Ensemble working every bit as hard as all the leads, sometimes more so on the energy required for partner throws and crazy wildness.

Finally, shout out to Young Tarzans, Daniel Lim and Sebastian Dovey Cribbes, both would have had an absolutely unique experience in this script and who wouldn’t want to play ‘Tarzan’ learning how to fruit pick and hang upside down. Whichever youthful Tarzan you see when you go along to watch you have to admire what these juniors in theatre can do and the confidence they have – theatre is so great for kids.

As always, I love the memories theatre can help recapture and looking later at the detailed program for this production, I have a mental flashback to watching a much earlier Tarzan on screen; Olympic swimmer Johnny Weismuller. Certainly not like the vivid colours and amazing action I saw everywhere on stage tonight with hundreds of green hanging vines, twisting and tumbling acrobats, dancers defying what their bodies can do naturally, but those calmer old black and white movies we’d sit down to watch on weekends and after which my brother would disappear to be ‘Tarzan’ in our backyard Willow tree. Yes, this is a story which has stood the test of time in any format with no mobile phones needed (they don’t work in the jungle anyway).

Oh – and hold out for that distinctive Tarzan jungle call, how does one describe that?

Congratulations to all the cast and the James Terry Collective creative team, you have all done yourselves proud!

Playing: August 29- September 14, 2025
Venue: The National Theatre, St Kilda
Website: www.tarzanstagemusical.com.au

CAST
Tarzan- Joshua Russell
Jane – Emily Robinson
Kala – Sara Murr
Kerchak – Devon Braithwaite (alt. Joti Van Carlos Gore)
Terk – Emma Wilby
Prof. Porter – Drew Holmes
Clayton – Nick Eynaud
Young Tarzan – Daniel Lim & Sebastian Dovey Cribbes
Ensemble – Simon Fairweather, Brittany Ford, Josephine Lopes, Sammy Allsop, Matilda Simmons, Ollie Pearce, Liimei Lim, Adriana Pannuzzo Emma Wilby, Gabriel Marsilli, Ayril Borce, Arjun Tiwari, Patrick Friedlander, Nicholas Dugdale.

TARZAN The Musical is Directed by Alister Smith (Elvis a Revolution, The Boys in the Band), Choreographed by Michael Ralph (The Wedding Singer, Legally Blonde), and Musical Direction by Claire Healy (SIX the Musical)

Adapted from the story “Tarzan of the Apes” by Edgar Rice Burroughs and originally Produced on Broadway by Disney Theatrical Productions. TARZAN ® owned by Edgar Rice Burroughs, Inc. Licensed exclusively by Music Theatre International (Australasia).

To book tickets to Tarzan: The Stage Musical, please visit https://nationaltheatre.org.au/tarzan/.

For information on further shows see: https://www.jamesterrycollective.com.au/

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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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Meet The Performer – Tomas Clifford

Tomas Clifford

Hold onto your hats, folks! Today, we had the distinct pleasure of sitting down with the inimitable Tomas Clifford to chat about his latest musical-cabaret extravaganza, “Tomas Clifford Got Stood Up.” Fresh off successful runs in Perth, Tomas is ready to make his mark at the Melbourne Fringe Festival and beyond. Get ready for a unique blend of humour, music, and heartfelt storytelling.

About Tomas Clifford

What do you enjoy most about acting?

I love connecting to a live audience just like you have a gossip session with your friend over a coffee (or wine) – making everyone in the room feel like they’re the only person being told the story is the aim for me, because it’s that personal connection with the performer than I as an audience member love about cabaret and live performance.

What productions have you acted in before?

Tomas Clifford Got Stood Up has already had two festival runs in Perth, and we’re very excited to announce that this upcoming Melbourne Fringe Season marks the beginning of a national tour of the show (with more dates to be announced for 2026).

Do you want to work in film, live theatre or both?

As a composer, I would love to work on projects across all different media formats – movies, tv, you name it. My heart, however, will always lie in theatre/live entertainment composition, be in the form of a musical or an original cabaret. As a performer, I’m super open to opportunities that may come my way. I’ve never fully imagined myself as a screen actor, but I certainly wouldn’t say “no” – and stranger things have happened.

What strategies do you use to overcome stage fright or nerves before a performance?

I honestly believe that the best strategy to overcome nerves are 1) extreme preparation building up to the performance and having the fullest of confidence that you know what you’re doing; and 2) being ready to throw all that preparation away and respond to what you’re being given by the audience in the moment. It’s that balance of type-a organisation and type-b carelessness that make me more excited than nervous for a performance.

How do you maintain your physical and emotional health while working on demanding projects?

The three s’s: sleep, steam, and silence.

Is there anything else you’d like to add?

My original musical-cabaret Tomas Clifford Got Stood Up will be playing in Melbourne from the 1/10 – 5/10 as a part of this years Melbourne Fringe Festival!

Where can patrons purchase tickets to this production?

To book tickets to Tomas Clifford Got Stood Up, please visit https://www.melbournefringe.com.au/whats-on/events/tomas-clifford-got-stood-up.

Thank you for sharing your insights and experiences with us. Best of luck with Tomas Clifford Got Stood Up at the Melbourne Fringe Festival and beyond. We’re certain audiences everywhere are in for a treat!

Other interviews can be viewed in our Meet The Performer Series.

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