Come From Away

Come From Away

Come From Away Rating

★★★★★

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Therry Theatre have ‘hit the jackpot’ with their latest production of Come From Away!

It is not so much a musical as an experience in compassion, simply but powerfully done.

Come From Away takes place during the days following 11th September 2001, when 38 planes carrying 7,000 air passengers were diverted to the town of Gander in Newfoundland. This small town, with a population of just 11,000, opened its doors to passengers from all over the world, providing shelter, food, and most importantly, kindness.

It is an amalgamation of hundreds of real-life stories from the people of Gander and those stranded there during the events of 9/11.

The creators, Irene Sankoff and David Hein, visited Newfoundland on the 10th anniversary of 9/11 to meet the locals and passengers who experienced this first-hand. These interviews and stories became the foundation of the musical, turning it into a genuine celebration of the kindness that emerged in those challenging days.

Therry Theatre and respected director David Sinclair have risen to the task of such a complex show and had the audience ‘on their feet’ at the conclusion of opening night. While the musical is based in a unit set with trees (Mark Rogers), some tables, chairs, and the orchestra lurking in the sides of the stage, it is the multiple characters and the ensemble (or ‘family’) nature of the piece that makes it challenging.

Sinclair knows the Arts Theatre stage (with its notorious sight lines) and has used every centimetre available to its best advantage. His characters are ‘real’ and we identify with their stories. His vision had many of the audience in tears at the conclusion of the piece.

 

 

He is ably assisted by Associate Director and Choreographer Linda Williams whose choreography is clever, and drives the piece along, particularly the opening and closing numbers.

Musical Director Peter Johns’ band hits all the right notes and includes the little heard bodhran (an Irish frame drum). Johns also plays the piano accordion and keyboards, no mean feat!

Lighting plays an important role in any musical and Mark Oakley’s lighting matches the emotions of each scene. There were a few late cues but these will disappear as the production continues. Allpro Audios’ sound adds clarity to the balance of singers and band.

In an ensemble (or family) production each cast member is of vital importance and it would be remiss of me not to name everyone –

Trevor Anderson – (Kevin J and a brilliant portrayal of Ali) gives the performance of a lifetime alternating a gay boyfriend with a Muslim Master Chef.

Kate Anolak – (Beulah and others) give her character depth with her compassionate performance. Her scenes with Hannah are heart breaking.

Michael Denholm – (Nick and others) adds a touch of comedy and romance as a frustrated Englishman who befriends and eventually marries Michelle Nightingale – (Diane and others). Watching their romance develop is a highlight.

Dee Farnell – (Beverley and others) shines as the pilot of the plane and its passengers that are the focus of the musical. She nails every scene, every note and is a standout. Her ‘Me and the Sky’ is a joy!

David Gauci – (Claude and others) as the Mayor of Gander is a lesson in acting, especially when he changes characters, literally at the ‘drop of a hat’.

Josh Kerr – (Oz and others) is an audience favourite, particularly his Italian character complete with long flowing hair!

Brady Lloyd – (Kevin T and others) adds a tender touch as one of the two ‘Kevins’ whose relationship breaks up over the Gander tradition of ‘kissing the fish’, or perhaps it was destined to breakup anyway?

Claire McEvoy – (Bonnie and others) gives a touching portrayal of the ‘keeper’ of the animals on the flight. Her last scene is tear-jerking.

Eloise Quinn-Valentine – (Janice and others) adds depth to the villagers and the passengers on the plane.

Lisa Simonetti – (Hannah and others) gives us a portrayal that any mother can identify with. Her ‘I am Here” is beautifully and emotionally sung.

Stephen Tongun – (Bob and others) – gives us an important viewpoint of the way people of colour are sometimes till treated in our society.

The cast also includes Shelley Crooks, Daniel Hamilton, Dominic Hodges, Michelle Tan, Katie Packer and who are not only swings but villagers as well.

Come From Away is an emotional roller coaster that is moving from start to finish, and adds vital dimension to 9/11 and the lives it affected. Bravo Therry Theatre for a superb evening!

To book tickets to Come From Away, please visit https://therry.org.au/.

Photographer: Andrew Trimmings

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Once On This Island.. You’ll Never Want To Leave

Once On This Island

Once On This Island Rating

★★★★★

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There’s something magical about Once on this Island A Musical. Curveball Creative with Hayes Theatre Company whisked me away on an 80 minute meander into a visually beautiful and enchanting cultural retelling of ‘one small girl’ (the name of the second song performed), Ti Moune.

Relative newcomer to the stage Thalia Osecueda Santos absolutely shines as Ti Moune. Her performance as a little orphan captured my heart at the beginning of the show. Portraying the young adult Ti Moune, Thalia’s singing and expressive emotions showed an innocent and carefree character full of hope, on the cusp of womanhood, bursting with excitement to start her life. One standout scene was when she was asked to dance by Andrea (Chaya Ocampo) and to the delight and encouragement from the audience, her beat and movement to the music showed a dynamic traditional islander dance.

Leah Howard’s choreography and musical director Dylan Pollard’s work throughout the musical was truly captivating. The whole cast moved together in song and dance seamlessly. Even when they were onstage and changing the set, the actors made it part of the story. I particularly adored the choreography and acting when some characters were part of nature – watch out for the birds and frogs in different scenes, which garnered some laughs.

Rita Naidu’s costume design for Once On This Island A Musical was vibrant and creative. In the retelling of the story of Ti Moune and her search for her love Daniel (Alexander Tye), there was an incredible range of varied and colourful characters. The four gods, Agwe (Googoorewon Knox), Asaka (Paula Parore), Erzulie (Cypriana Singh) and Papa Ge (Rebecca Verrier) were brilliant, performing together to create quite the authoritative presence of the overseeing powers-that-be, and separately in their roles that pulled the audience into their orbit. Rebecca Verrier’s sly Demon of Death was frightening at times!

 

 

Ti Moune was an orphan who was taken in after being seen clinging to a tree after a dreadful storm by an elderly couple, Mama Euralie and Tonton Julian. Mama Euralie, played with a huge heart and a matching commanding voice by Zahrah Andrews, was the ever-protective Mama and Sione Mafi Latu portrayed Tonton Julian with a gentle and loving presence.

After seeing Daniel and caring for him after a car accident, she falls deeply in love. There is a problem of the two coming from vastly different classes. This raises boundaries and questions of following the heart, or following family traditions. Bash Nelson (as Armand), Paul Leandre Escorrido and Sara Camara are strong supporting cast members.

Be on the lookout for a history lesson (the backstory of Daniel’s family) told in a most creative way, using shadows and narrative. Kudos to Alexander Tye and Bash Nelson in these scenes. It was almost a nod to shadow puppetry and this added a visual element that was very original and very well performed.

Director Brittanie Shipway, amongst other things, has guided the cast of twelve into sounding like a cast of twenty, with the band onstage at the back, heralding a clear and beautiful accompaniment to the actors’ vocals.

Once On This Island A Musical was a fast moving feast for the eyes and ears, best told as it is with no interval to distrupt the flow. The book and lyrics are by Lynn Ahrens and the music by Stephen Flaherty. This is a fable which imparts messages of love, belonging, culture and connection to our land and gods – I highly recommend seeing this musical and having your heart travel with Ti Moune and her story.

Once On This Island A Musical is playing at The Hayes Theatre 19 Greenknowe Ave, Potts Point
Season run: 2 August – 31 August 2025.
Tickets: $99
www.hayestheatre.com.au/event/once-on-this-island

To book tickets to Once On This Island, please visit https://hayestheatre.com.au/event/once-on-this-island/.

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Beauty and the Beast

Beauty and the Beast The Musical

Beauty and the Beast The Musical Rating

★★★★★

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Disney’s Beauty and the Beast musical enchants audiences with its lavish production, values and timeless storytelling at Crown Perth. The latest staging, featuring Perth’s own Shubshri Kandiah in the leading role of Belle, is a triumphant celebration of theatrical artistry and nostalgia.

The musical remains true to the 1991 Academy Award winning animated film, everything from the dialogue to the costumes the show is a Broadway version of the film.

Captivating the audience in the opening scene is the unmistakable voice of the legendary late Angela Lansbury, as the narrator for the prologue. This homage to the original film sets a tone of reverence and continuity, immediately immersing the audience in the magical world of the story.

With the set design almost as a character of its own, it moves so seamlessly between all the scenes, from the French provincial town the audience are suddenly transported to the depths of the woods then to the baroque-style palace of the Beast.

The best out of all the scenes, including set design would have to be the extravagant musical number “Be Our Guest”. Leading the luminous performance is Rohabn Browne as Lumiere. The scene is a live-action kaleidoscope of the musical ensemble encompassing tap-dancing, can-can dancing, acrobats and singing topping it off with a final bang of confetti into the audience. It is truly an impressive performance which brings together all the talents needed to deliver such a spectacular show, including set design, lighting, costume, choreography, dancing and singing.

 

 

I was curious as to how the transformation from the Beast to a man would take effect. The impressive visual and sound lightening effects assisted tremendously with the transformation for a dramatic climax.

Every cast member delivers such a high level of professionalism that can only be expected from a Disney show.
Kandiah’s vocal prowess sets the show as a first-class performer, capturing both the character’s intelligence and warmth, offering a faithful interpretation of the beloved heroine.

Equally exceptional is Brendan Xavier as the brooding and tortured Beast. The chemistry between the two main characters is palpable especially in the library scene when their emotional walls are coming down.

A defining element of the show is its sumptuous live orchestration, conducted by the accomplished Luke Hunter. The orchestra’s performance is integral to the production’s success, providing both emotional depth and dynamic energy throughout the show. The finale was met with a standing ovation, and rightly so.

The attention to detail in every aspect of the production underscores Disney’s commitment to quality. Beauty and the Beast is a dazzling immersive musical experience that lingers long after the final curtain.

To book tickets to Beauty and the Beast The Musical, please visit https://www.crownperth.com.au/entertainment/crown-theatre/shows/beauty-and-the-beast.

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A Clever Tour de Force, Full Of Surprises

The Forgotten Songbook

The Forgotten Songbook Rating

★★★★★

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Stepping through a light haze in Chapel Off Chapel’s Loft, into the twilight world of The Forgotten Songbook instantly transports the audience to bygone era of music-making. The set, dressed simply but evocatively with a piano, a few furniture pieces and faded posters of long-forgotten musicals like Vienna Days and Girl Leaves Boy, conjures a smoky dive bar in the middle of nowhere and everywhere. It’s the perfect frame for a show that unearths the dazzling, almost unbelievable, fragments of composer Wilbur Weissman’s lost career.

What follows is a two-act whirlwind of longing, misfires and brilliance, pulled together by a creative team whose passion for Weissman’s story pulses through every beat.

Emerson Hurley’s compositions form the heartbeat of the show. Sitting at the piano with a relaxed command, Hurley not only plays with casual virtuosity but delivers a score that is tuneful, witty and remarkably affecting. His pastiche writing honours the Tin Pan Alley style while crafting songs that feel entirely fresh. “I’ll Never See Memphis Again” is one of the evening’s most poignant moments, unveiling emotional depths in both character and composition that stop time. Hurley may be at the beginning of his career, but The Forgotten Songbook suggests a voice with the sophistication of a modern-day Gershwin, or dare I say Weissman? Either way, he has the originality to stand on his own.

Co-writer and producer Dylan McBurney brings theatrical structure and dramaturgical clarity to this sometimes chaotic rollercoaster tale. The narrative, full of unexpected turns (a hippo attack??) never wavers in purpose. It’s comedic and poignant in equal measure, an impressive feat that speaks to the balance and restraint of McBurney’s work.

 

 

In his debut as director and choreographer, Mikey Halcrow crafts a staging full of flair and control. He uses stillness to great effect, allowing quieter moments to resonate and leans into the physicality of the performers to heighten the absurd and the powerful beats. The rapid pace never falters, but the show knows when to let a moment land and when to let the music speak for itself.

Karla Hillam gives a stellar performance. Channelling the style and swagger of a classic torch singer, she moves with elegance and sings with great versatility. Her character work is razor-sharp, shifting styles and personas with impressive precision. Her natural chemistry with co-star Jonathan Guthrie-Jones anchors the piece. Together, they deliver both belly laughs and broken hearts.

Guthrie-Jones, in turn, feels like a Hollywood leading man of yesteryear brought to life. His rich, beautifully controlled voice wraps itself around the material with ease and his performance is laced with charisma and genuine vulnerability.

Together, the cast form a dynamic double act (or trio including Hurley at the piano), effortlessly slipping between satire, drama and song. Their rendition of The House Un-American Activities Rag is a showstopper. It’s choreographically tight, musically rich and laugh-out-loud funny.

The Forgotten Songbook is more than a showcase. It is an excavation of talent, myth and memory. In a country where new musical theatre often struggles to find space, this piece deserves to travel far beyond its opening weekend. Don’t miss it and don’t miss seeing the work of any of this team in the future.

To book tickets to The Forgotten Songbook, please visit https://chapeloffchapel.com.au/show/the-forgotten-songbook/.

Photographer: Kristopher Wardhana

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