Musical - Whats The Show

Frozen Jr

18/07/202518/07/2025 Rob McKinnon🥉

Review: Frozen Jr Rating

★★★★★

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Based on the Academy Award winning Disney animated feature film, Frozen, the Adelaide Theatre Academy’s limited season of Frozen Jr at the Goodwood Institute, is a first-class vehicle to highlight the outstanding flourishing talents of the young cast in this highly entertaining production that brings Anna, Elsa and the crew alive on stage.

The plot develops in the Kingdom of Arendelle as Young Anna and Young Elsa play as summer is celebrated by the Townspeople. Young Anna pesters Young Elsa to use her magical powers to create snow and ice. Queen Iduna and King Agnarr prompt them that Young Elsa’s powers must be kept a secret. That night they build a toy snowman called Olaf, and Young Elsa inadvertently uses her powers resulting in Young Anna becoming unconscious. The King and Queen enlist the help of the Hidden Folk and their leaders Pabbie and Bulda revive Young Anna and remove the memory of Young Elsa’s powers from Young Anna’s head. Fearful of her potentially harmful magic, Young Elsa vows to hide her powers and removes herself from everyone including her sister.

The King and Queen travel away from the kingdom but are lost at sea and the sisters are isolated from the outside world and each other. Later Elsa is to be crowned Queen and for the Coronation the castle gates are opened after being shut for many years. Anna becomes excited with the prospect of having people back in the castle. Anna falls in love with Prince Hans and Elsa again loses control of her powers and flees, Anna tries to find her sister leaving Prince Hans in charge of Arendelle. In her search she encounters Kristoff and his reindeer Sven, then Olaf the talking snowman who all join her in her quest to find Elsa.

The show includes the favourite songs from the original film, “Let It Go” and “Do You Want to Build a Snowman?” as well as new songs for the stage.

With the limited confines of the Goodwood Institute and the large size of the cast, the set design is minimal, relying on a series of ladders that are moved throughout the show. While practical considerations are obviously in play in relation to the minimal set design, the minimalism may lead to confusion with the story amongst younger audience members of which there was a large number in the session reviewed. There were also minor sound issues but not enough to mar the show. Costumes are very good, however the stylised Olaf costume may again lead to confusion for younger audience members.

Two casts alternate between sessions, a “Winter Cast” and a ” Summer Cast”. The session reviewed was performed by the “Winter Cast”. The whole cast has impressive developing talent. They all performed to a remarkably excellent level considering their age and would all seem to have bright futures. Given the excellent performance of all the cast it seems unfair to single out individual members, but the leads Claire Wilkes as Anna and Lucy Parkes as Elsa, deserve special mention for outstanding achievements. Lucy’s singing voice is already at an accomplished level. Special scene stealing mention also to Olive Kennedy as Olaf.

The Adelaide Theatre Academy should be proud of their production of Frozen Jr as it highlights the brilliant developing talents of the cast in this charming take on Disney’s Frozen characters.

Frozen Jr runs to 19 July 2025; remaining session dates and times are as follows:

– Friday July 18th – 10:15am & 6:30pm
– Saturday July 19th – 11:00am & 6:30pm

To book tickets to Frozen Jr, please visit https://theatrebugs.com.au/theatre-bugs-shows-and-events/.

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Loving The Alien

07/07/2025 Oscar Bray🥉

Loving The Alien Rating

★★★★★

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David Bowie was an icon in every aspect of his art. Through music, shows and myriad personas, the iconic rockstar remained relevant for decades as an icon of glamorous, theatrical spectacle. The show Loving The Alien juxtaposes itself with this history, interweaving songs and anecdotes to tell a story not of Bowie The Rockstar, but of Bowie The Narrative. In the process, creator and performer Karlis Zaid aims to answer the deceptively simple question: who was David Bowie?

The show’s stripped-back aesthetic complements this quest well. It’s unusual for a show about one of the most ostentatious rockstars to ever live to take place in a black box with four smartly dressed performers, their instruments and some slightly more elaborate lighting design. This may explain why the audience seemed awkward at first, but Zaid and co-star Aurora Kurth did an excellent job at easing us gently into the show’s world. Their easy banter created a nerdy superfan vibe, and the vocal performances were dramatic while still feeling natural and fun. The cast’s passion was their greatest asset, there were more laughs and vocal reactions from the audience as the show went on and by the end, we were all out of our seats, clapping and singing to ‘Heroes’.

The songs themselves, performed by Andrew Patterson on keys and Aaron Syrjanen on guitar, are lovingly crafted arrangements that feel familiar and welcoming while still offering surprises. ‘Sound and Vision’ is retooled into a smooth ballad, ‘Changes’ and ‘Let’s Dance’ start softer and build to great climaxes, and ‘Fame’ and ‘Ashes To Ashes’ used beautiful harmonies to highlight how well Zaid and Kurth’s voices work together. They’re also placed very well throughout the runtime, not always chronologically but mirroring the stories told in between to create a subtle emotional arc. The last two songs in particular hit with a sombre tone that feels earned and cathartic. Nothing feels out of place, though with a repertoire as strong as Bowie’s it would be difficult to put a foot wrong.

The lack of visual references makes it clear that the show is for people who are already fans of David Bowie. We know the songs, and we may know some of the stories, so it’s up to Zaid and his team to put them in a new context. The story of Bowie’s life is told in quite broad sweeps and given the show’s theme of finding the man underneath the image, it may have been nice to examine and with more of Bowie’s personas – the only one who gets significant discussion is Ziggy Stardust. However, the show is clearly not trying to be a straight biography. When specific events are focused on, they’re often less known or more controversial details about Bowie’s life, such as an exploitative contract he was under or the role he may have played in the breakdown of his marriage to his first marriage. Due to its personal nature and willingness to explore all sides of Bowie’s narrative, the script steers clear of hagiography and ensures that most people will learn at least one new fact about their favourite rockstar.

Loving The Alien lives up to its name by inviting us into a heartfelt, thought-provoking dive into Bowie’s story. The love and care is clear in the music, performances and writing, and while it may not be the Bowie tribute you may expect, fans will find a lot of joy and pathos in it. Whoever Bowie was, as a person and performer, this show demonstrates why we still care, and why it will always be important to celebrate uniqueness and otherness wherever it flourishes.

To book tickets to Loving The Alien, please visit https://www.artscentremelbourne.com.au/event-archive/2025/contemporary-music/loving-the-alien.

Photographer: Angel Leggas

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Jesus Christ Superstar: A Modern, Mesmerizing and Immersive Experience

07/07/202507/07/2025 Paul Ellicott🥉

Jesus Christ Superstar Rating

★★★★★

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It’s opening night in Brisbane after a successful Australian tour, and there is no denying that Jesus Christ Superstar rises again. For those uninitiated, the action focuses on the final days of the man himself, culminating in his crucifixion. However, this is no ordinary bible story – nor ordinary musical; Jesus Christ Superstar is conceptual rock n roll, and this production brings the classic firmly into 2025, with the help of eminent Australian pop, rock and soul musicians, inspired choreography, and exemplary calibre of cast. This is a show even for people who don’t typically enjoy music theatre, while still delighting those of us who do.

I’ve seen Jesus Christ before, both the fantastic 1973 movie and an enjoyable high school production many years ago, which featured my sister in the orchestra. However, it has been long enough for me that events unfolding seem surprising and fresh, while I realize the master plan toward which they culminate. This interpretation feels right now but retains the campy strut and sensibility of early iterations; A feature of Jesus Christ Superstar is how well it translates into different eras, being so beautifully open to experimentation.

As Jesus, Michael Paynter’s singing is exceptional, with clarity, control and conviction. An experienced professional musician with success in the pop charts, this show is Paynter’s first foray into the musicals; While I consider that he grows in stature throughout the performance (he is firing on every cylinder in the second act), the more I think about it, his calm, innocent, nearly boy-like portrayal in the first act is an appropriate and effective character choice.

Mahalia Barnes as Mary is also new to musical theatre; However, JCSS can be fairly considered part of the rock realm, so more her world than most musical theatre. Like Paynter, she is a music industry veteran, and a beautiful interpreter of song; She gets to sing some of my personal favourites in this show, giving soulful tone and connection, while radiating wholesome beauty. Her duet with Peter (Tana Laga’aia) is notable, bringing some gentler reflection into the strident second act.

As the flamboyant Herod, Reuben Kaye’s beauty is somewhat less wholesome than Barnes’s, but nonetheless riotously evident. Kaye is a force of nature, and while his stage time is shorter than the other cast, his presence is indelible, eating up the stage with electric energy, sinister sexuality and some impressive vocal histrionics – spanning from gargle to whistle and back again. No stranger to controversy himself, and certainly willing to ‘go there’ (watch his 2023 interview on The Project re: his love of Jesus, if you’re unfamiliar/not easily offended), Kaye goes all out as Herod, his courage and charisma perfectly cast in the role.

Javon King as the maligned but misunderstood Judas blends exuberance and anguish into a very memorable portrayal. Judas gets some of the show’s absolute banger musical numbers, and King handles them royally, with soulful elevation and powerful falsetto. While remembered for his betrayal, Judas is a complex character with arguably noble intentions, who errs, then cannot bear the burden of his own conscience. King captures these contrasts with phenomenal energy, nuance and commitment.

Other especially memorable performances are given by Elliot Baker, oozing machismo as Caiaphas, and Graeme Isaako, giving grit and sincerity as Simon. The standard of the whole cast is superb, and the production feels alive and in the moment. This show is not about main members singing stationarily in the spotlight, but rather the entire cast exploding throughout the stage, creating texture and dynamism both visually and narratively.

Special mention must be given to Choreographer Bree Tipoki, for her input behind such a captivating feature of the show; The dance and movement bring fascinating life and shape to the stage, and to the story. The live band, costuming, stage design and lighting are all dialled into the highest professional standard. As a whole, Jesus Christ Superstar gives life, as the plot takes one away. Yet, there are no sins to speak of; The shows deeper commentary on society’s casual detachment, desensitization and perverse voyeurism toward the suffering of one we raise up only to smack down – is thought provoking. Each distinct element blends vibrantly to create a modern, mesmerizing and immersive experience, that should not be missed.

To book tickets to Jesus Christ Superstar, please visit https://www.qpac.com.au/whats-on/2025/jesus-christ-superstar.

Photographer: Jeff Busby

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Calvin Berger: A Musical Comedy

06/07/202505/07/2025 Cherelle Flemming🥈

Calvin Berger: A Musical Comedy Rating

★★★★★

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I can’t believe that prior to last night I had never heard of CALVIN BERGER: A MUSICAL COMEDY, because boy have I been missing out on something really special!

The fantastic musical is a modernised adaptation of CYRANO DE BERGERAC, a classic play written by Edmond Rostand, and is being proudly showcased at the Civic Playhouse, presented by UpStage and Hyde Entertainment and directed by Amber Curby and Seb Smee.

The story centres around four teenagers struggling through the tumultuous years of High School. They are each grappling with their own insecurities, bringing light to the truth that even those we perceive as being; the prettiest, the smartest, the coolest, all still doubt their self worth at times.

It’s a heartfelt message to all teens to be mindful of others’ feelings and to note that you never really know what inner demons your peers may be battling. Although there are some underlying subtle messages, the musical is incredibly lighthearted and hilarious, reminiscent of a 90s romcom.

All four leads were an absolute standout! Both the acting and vocals of each were nothing short of brilliant. The Vocal Director – Gabrielle Connett has delivered commendable vocal instruction to the talented young cast, who all portrayed great skill in their solos and ensemble harmonies.

Seb Smee, an up and coming superstar of Newcastle and certainly beyond, is the assistant director and producer and also plays the lead character Calvin Berger. His comedic delivery, tiny nuances and vocals are flawless. Seb, you are a young genius and I will be thrilled to attend your future productions.

The ever-witty and delightfully nerdy best friend of Calvin, Bret, was performed superbly by Zoe Chan. Zoe’s characterisation and comedic dramatic skills were indeed A+ and I really enjoyed her convincing character delivery.

Finlay Page delivered a superb portrayal of the gorgeous and highly sought after Rosanna. Finlay gave great depth to her complex character and also delivered wonderful vocal performances throughout the show. Jude Schiller absolutely nailed the ‘handsome jock’ character, Matt. He displayed superb natural acting and an impressive vocal timbre, range and skill. A highly commendable and impressive performance all round.

The set design was very creative and I was impressed with how effective it was in creating depth and dimension to the small space they had to work with. A special shout out to the fantastic work from the sound and lighting technicians, I appreciated the pleasant sound balance and the ‘wetness’ in the microphone settings.

The Calvin Berger musical has ‘scores’ of laugh out loud hilarious moments (yes, pun intended), and I think the entire audience, myself included, were shocked by the talent and professionalism of these young performers. Calvin Berger is an immensely enjoyable and relatable production particularly appealing to ages 13+ and I urge you to support these incredibly talented young artists and help keep local theatre thriving.

To book tickets to Calvin Berger: A Musical Comedy, please visit http://civictheatrenewcastle.com.au/what-s-on/all-shows/calvin-berger.

Photographer: Jo Roberts

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