Musical - Whats The Show

Broadway Smash Hit Musical RENT Opens THIS WEEK

24/09/2025 Breaking News🥇

“Faultless. Flawless. Amazing. Perfect… A MUST SEE” – Broadway World

The musical that rocked Broadway is back, and making its debut this week at the Joan Sutherland Theatre, Sydney Opera House, RENT plays for five weeks only from 27 September until 1 November.

Jonathan Larson’s exhilarating, multi-Tony® Award winning RENT takes audiences to the vibrant streets of New York City’s East Village in the early 90’s, where young people navigate poignant social issues and dreams are born, friendships are tested, and the power of love prevails against all odds.

Featuring the iconic songs Seasons of Love, Take Me or Leave Me and La Vie Bohème, this groundbreaking phenomenon, inspired by Puccini’s La Bohème, is more than a musical; it’s a celebration of love, life, art and the resilience of the human spirit.

The electrifying cast for RENT includes Henry Rollo (The Rocky Horror Show) as Mark, a struggling documentary filmmaker and best friend of Roger, an HIV-positive musician recovering from heroin addiction, played by Harry Targett (Dear Evan Hansen). Kristin Paulse (Tina The Tina Turner Musical) is Mimi, a reckless and passionate exotic dancer who lives only for today. The Voice finalist Calista Nelmes (Jesus Christ Superstar) reprises her award-winning performance of the spirited Maureen, current girlfriend of Joanne, a tough, headstrong Harvard-educated lawyer played by Imani Williams (Hadestown).

Philosophy teacher Collins, father-figure and friend, is played by Googoorewon Knox (Hamilton) with Jesse Dutlow (& Juliet) as Angel, an HIV-positive drag artist with a passion for life in the face of inevitable adversity. Benny, played by Tana Laga’aia (Jesus Christ Superstar), is the former friend and current landlord of Mark, Roger and Mimi.

Completing the cast are Anna Francesca Armenia, Kobe Brown, Sam Harmon, Lawrence Hawkins, Carmel Rodrigues, Chad Rosete, Eliza Soriano, Stacey Thomsett, Bree Tipoki and Theodore Williams.

Jonathan Larson’s RENT opened Off-Broadway in 1996 and quickly became a global phenomenon. The show earned Larson multiple Tony® Awards along with a Pulitzer Prize for Drama, a distinction not received again by a music theatre work until 14 years later. Though Larson himself never saw the impact of his masterwork – he died suddenly in the early hours of the day the show opened to the public – its longevity serves as a testament to the emotional resonance of his creation and an embodiment of its ever-present message “no day but today”.

Book now for RENT at the Sydney Opera House – there’s No Day Like Today to get your tickets!

www.rentmusical.au

@RENTMusicalAU #RENTMusicalAU

Book, Music and Lyrics by
Jonathan Larson

Musical Arrangements
Steve Skinner

Original Concept/Additional Lyrics
Billy Aronson

Music Supervision and Additional Arrangements
Tim Weil

Dramaturg
Lynn Thomson

Creatives

Director Shaun Rennie
Music Director Jack Earle
Choreographer Luca Dinardo
Set Designer Dann Barber
Lighting Designer Paul Jackson
Sound Designer Evan Drill
Costume Designer Ella Butler

Cast

Angel Jesse Dutlow
Collins Googoorewon Knox
Benny Tana Laga’aia
Maureen Calista Nelmes
Mimi Kristin Paulse
Mark Henry Rollo
Roger Harry Targett
Joanne Imani Williams

Featured Ensemble
Anna Francesca Armenia
Kobe Brown
Sam Harmon
Lawrence Hawkins
Carmel Rodrigues
Eliza Soriano
Stacey Thomsett
Theodore Williams

Onstage Cover Chad Rosete
Resident Choreographer & Onstage Cover Bree Tipoki

Venue
Joan Sutherland Theatre, Sydney Opera House

Season
27 September – 1 November

Bookings
www.opera.org.au or 02 9318 8200

Tickets
Adult tickets start at $49. (fees may apply)
A Reserve $139
Premium Reserve $189

Group bookings of 4 or more discounts available

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Menopause: The Musical

23/09/2025 Melissa Marsh🥉

Menopause The Musical Rating

★★★★★

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Menopause the Musical has been packing theatres around the world for more than two decades, and its Sydney season shows why. Built as a one-hour revue without interval, the show wastes no time on plot, instead linking pop classics with menopause-themed lyrics and broad comedy. It’s a format that could easily flag, but in Cameron Mitchell’s brisk staging the pace feels more like momentum than overload, sustained by four performers who never let the energy drop.

The archetypes are simple—Professional Woman, Soap Star, Housewife, Earth Mother—but the cast injects them with distinct flavour. Tara Morice, remembered by many as Fran from Strictly Ballroom, brings a real edge to her Professional Woman, most memorably when she trades businesswear for a shiny black top, skirt, and denim jacket to belt What’s Love Got to Do With It. Erika Heynatz, cast with a wink as the Soap Star given her Home and Away past, proves the standout vocalist, carrying numbers with clarity and ease. Melissa Langton’s Housewife combines warmth and honesty with gleeful broad comedy—her romp in red lingerie over her clothes is a crowd-pleasing highlight. Cherine Peck, reprising her role as Earth Mother, leans into the playfulness of the part, giving the ensemble an effervescent lift.

Christine Mutton’s costumes start in recognisable shorthand—power suit, flowing layers, domestic comfort, showbiz glam—before sliding into sillier territory. The red lingerie gag and the final sparkly outfits underline the production’s refusal to take itself too seriously while still keeping the glamour dialled up. Frances Story’s set is functional but bright, leaving space for the performers, while Jasmine Rizk’s lighting design proves versatile: bold washes carry the big numbers, but subtler effects sneak in, particularly during the hot-flash sequences where the humour lands visually as well as vocally.

The songs themselves—rewritten classics from the baby boomer songbook—are instantly familiar, and that recognition is half the joke. For an audience of “ladies of a certain age,” as the program knowingly puts it, the combination of nostalgia, camp, and shared experience is irresistible. Saturday night’s crowd responded with knowing laughter, cheers, and a standing ovation.

Menopause the Musical is not a show for subtlety or story. It’s a night of energy, glamour, and communal release. In this Sydney staging, thanks to a committed cast and slick creative team, the formula still works—and then some.

To book tickets to Menopause The Musical, please visit https://menopausethemusical.com.au/.

Photographer: David Hooley, Joel Devereux

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Colour and Light: The Art of Sondheim

21/09/2025 Adam Miller🥉

Colour and Light: The Art of Sondheim Rating

★★★★★

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Buckle in. There is going to be a lot of hyperbole in this review. When something is this good, how else can you describe it?

Colour and Light: The Art of Sondheim, presented by Watch This at Theatre Works, is less a musical revue and more a velvet-draped love letter to the genius of Sondheim. It’s the kind of show that slips under your skin, reshapes your idea of what cabaret can be and sets a new standard for how theatre should be made.

Theatre Works is perfect venue for this show. It balances epic with intimate, using the high ceiling to hang long luscious drapes but keeping the audience close enough that we felt every word on the stage. Designer Rob Sowinski has conjured a stage that feels like a plush, lived-in lounge room (art deco drinks trolley and all) with a circle of tiered staging, bathed in the soft glow of vintage table lamps. It’s intimate and luxurious.

What follows is a breathtaking journey through Sondheim’s songbook. Yes, the big numbers are here, but so are the deep cuts and the “why-don’t-more-people-sing-this?” gems. I’m sure Sondheim diehards will know that he wrote songs for the 1990 film, Dick Tracy, but I had no idea and it was a revelation to hear music from the soundtrack on the stage. The show flows with purpose and precision, thanks to the clean, intelligent direction of Melanie Hillman and Dean Drieberg, whose love of the material radiates through every moment. The loose thematic arc is shaped around Seurat’s artistic principles of Order, Design, Tension, Balance, Harmony. The structure gives the evening clarity without ever feeling constrained or contrived. This is cabaret at its best.

And then there’s the music.

Dr Trevor Jones, who arranges, musically directs and performs from the piano, is the beating heart at the centre of the piece. His arrangements are stunning. They are lush, showy when needed, simple when called for and always with a focus on the emotional truth of the songs. This is some of the finest musical storytelling I’ve heard on a Melbourne stage and reminds me why, when done well, musical theatre is one of the greatest art forms ever.

Johanna Allen is a master of her craft. Her ability to navigate the razor-thin line between vocal fireworks and emotional restraint is unmatched. She brings a knowingness to the stage that draws the audience in and lets us share the humour and pathos in all of her delivery. There are countless moments she channels such precision and ache that you could feel the entire theatre holding its breath. This is vocal acting of the highest order.

Vidya Makan broke my heart multiple times across the night. There’s an emotional directness to her performance that’s magnetic. Her choices are always fresh, never predictable and she elevates everything she touches with nuance and grace. Her I’m Still Here was a stand out moment in a evening of stand out moments. She gave us an exquisitely rendered journey from introspective calm to triumphant exuberance with countless little gut-punches along the way.

Nick Simpson-Deeks, as ever, delivers with polish and pinpoint clarity. He finds the architecture in each song, builds it, then knocks it down with a smirk or a sigh. It looks effortless, but this has to have been crafted and perfected over years. His Send in the Clowns has ruined every other version for me. Honestly. It needs to be bottled and prescribed to every aspiring performer and every audience member. It is good for the soul.

Jacob Rozario brings vibrant charisma and thrilling musicality. They shift gears effortlessly from the ridiculous to the sublime and their voice is an instrument of total control and warmth. There wasn’t a moment when their performance wasn’t a captivating blend of playful, detailed and vocally dazzling. His delivery of Can That Boy Foxtrot will stay with me for a long time.

Colour and Light: The Art of Sondheim elicited a palpable love in the room, not just for Sondheim, but for collaboration, for precision, for joy. The audience left buzzing, visibly moved and audibly delighted. As for me? I’ve already booked to see it again.

This is one of the finest tributes to Sondheim I’ve seen anywhere in the world. Don’t miss it.

To book tickets to Colour and Light: The Art of Sondheim , please visit https://www.theatreworks.org.au/2025/colour-and-light.

Photographer: Ben Fon

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Bright Star – A Bluegrass Musical

12/09/202512/09/2025 Cherelle Flemming🥈

Bright Star – A Bluegrass Musical Rating

★★★★★

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The spectacular Bright Star musical presented by Sport For Jove Theatre Company, in association with Hayes Theatre Co, is a spellbinding must-see. Co-Directed by Miranda Middleton and Damien Ryan, Musical Direction by Alec Steedman and produced by Christopher Tomkinson and Isabella Milkovitsch, this creative team – along with their cast – have created an absolute masterpiece.

The magnificent cast left me in awe of their radiating talent. In the theatre world we talk about “triple-threat” performers who can sing, dance, and act. Well, this sensational cast raised the bar adding instrumental skills into the mix-quadruple threats!

This highly acclaimed production transports audiences to the 1920s and ‘40s in the American South. Steve Martin and Edie Brickell were inspired to write Bright Star after discovering an old newspaper article about the “Iron Mountain Baby” – an incredible true story of a baby’s miraculous survival after being thrown from a moving train inside a suitcase. Rescued and adopted by an elderly couple, this miraculous story sparked a reimagining that became this heartwarming, bittersweet tale.

Now to the music: the score is brilliant-one you’ll want to add to your playlist. The powerful bluegrass songs resonate with heartfelt emotion, striking the audience with every note. Congratulations to the Musical Director, Alec Steedman on an outstanding job of directing this talented cast to deliver an exhilarating performance. The impeccable harmonies and the all-round musicianship of the singers and instrumentalists were absolutely inspirational.

Hannah McInerney is sensational in the lead role of Alice Murphy. She took my breath away from the opening number with her angelic vocals, rich with Southern warmth. Her playful, engaging acting was both charming and humorous yet deeply moving in the poignant moments. At times, I was wiping away tears; at others, laughing in hysterics. Hannah kept me captivated throughout her intoxicating performance.

Kaya Byrne gave an electric performance as the charismatic Jimmy Ray. Kaya sings, plays guitar and harmonica with utmost professionalism, and conveys his character’s heartbreak and anguish with depth and honesty. Kaya’s emotive performance was deeply impactful, leaving my heart in my throat.

Cameron Bajraktarevic-Hayward is utterly delightful as Billy Cane. Expertly playing the cello during the show, he delivered the role with skill, energy and heart. His agile dance moves and magnetic stage presence enhanced an already brilliant performance.

Deirdre Khoo shines as Lucy, flawlessly showcasing her talents on accordion, vocals, dance and acting. Her show-stopping moves illuminated Shannon Burns’ masterful choreography. Deidre, alongside Jack Green who played the comedic Daryl, brought plenty of laugh-out-loud moments which kept the audience well entertained. Jack Green also played the sincere Daddy Cane, a contrasting character full of emotional depth and sincerity.

Genevieve Goldman, as the comedic relief character Margo,brought dynamic energy to the story. With fabulous comedic timing, striking vocals and impressive acting, Genevieve provided an engaging performance.

As the villainous Mayor, Seán van Doornum was remarkable. Portraying a detestable character convincingly can be difficult, but his superb performance captured the proud, unfeeling, and truly evil nature of the role.

Katrina Retallick and Rupert Reid as Mama and Daddy Murphy were a powerhouse duo. Katrina’s stunning vocals, especially her harmonies with Hannah, were unforgettable. Her raw intensity in the harrowing scenes amplified the emotional impact. Rupert’s portrayal of an uncompromising father, weighed down by regret, was equally striking—his natural, convincing delivery perfectly suited the show’s era.

Bright Star will make you laugh, cry and fall in love with its story and musical score. This impactful production, with its incredible stellar cast, is not to be missed. I am certain you will fall in love with it, just as I have.

To book tickets to Bright Star – A Bluegrass Musical, please visit https://www.sportforjove.com.au/bright-star-2025.

Photographer: Robert Catto

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