Every Note Speaks What Words Can’t

No Love Songs

No Love Songs Rating

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1

What is it about a love song? It awakens something in us we can’t put into words. Love is the ultimate subject—it defines us, moves us, and makes us count. It comes in many forms, each as complex and transformative as the next.

Through bold storytelling and evocative melodies, No Love Songs swiftly shifts from the thrill of a new love to the profound, painful reality of losing yourself within it. Overflowing with enormous compassion and warmth, it delves into the raw intricacies of identity, relationships, and loss.

Inspired by the real-life experiences of co-writers Laura Wilde and her partner Kyle Falconer, the show draws from Falconer’s second solo album, No Love Songs for Laura (2021). Co-written by Johnny McKnight, delves into the relationship dynamics between Lana, a new mother, and Jessie, a songwriter at a crossroads. Beyond exploring career ambitions and new parenthood, it fearlessly addresses the often-unspoken challenges of postnatal depression. While this may seem like a confronting topic (and it is) the show’s heartfelt authenticity and humour make it both engaging and ultimately hopeful.

The success of this show hinges on the power and skill of its two actors, who bring a deeply personal journey to life through a duologue of contrasting perspectives that navigates the complexities of parenthood. Through soliloquies and inner monologues, the audience gains insight into their internal struggles, highlighting the deep yet often amusing gap between what they feel and what they express.

An undeniable spark lit up the stage whenever Keegan Joyce and Lucy Maunder performed together. Opposites truly attract—Joyce’s self-effacing, endearing charisma perfectly complemented Maunder’s bold, brassy power. Both hit every note effortlessly, their palpable chemistry making each moment feel relatable and electric, leaving me to wonder if they were a couple in real life.

The Foundry is the perfect new space for this inaugural musical – intimate enough to capture moments of stillness, yet expansive enough for the vocals to soar. The minimal yet impactful musical accompaniment—guitar, keyboard, and percussion—acts as the third character, subtly deepening the emotional layers of the story without overshadowing the intimate moments. The songs were catchy, not Top 40 hits, but expertly crafted to integrate and enhance the narrative. At times, the atmosphere strayed into rock opera territory, amplifying the intensity but there were also poignant, quieter moments that could have been pared down just a bit to sustain the overall momentum of the performance.

What stood out most was that Lana and Jessie felt like real people, pouring out their hearts, songs, and stories while stumbling through a world full of challenges beyond anyone’s full understanding or control. Their dynamic felt less like a performance and more like a confession.

As the audience shuffled out, an elderly gentleman turned to me—a complete stranger—his voice heavy with emotion, and said, “I now understand what my mother went through.” I paused, absorbing the weight of his words, and replied, “Me too.” At that moment, it became clear why Wilde and Falconer wrote this show.

Postpartum depression remained a taboo topic until the late 20th century, with stigma lingering despite growing awareness in the 2000s. This story has rarely been told publicly – let alone shared on stage- but it resonates powerfully across generations. By sharing these deeply personal experiences, we help others, and ourselves, to connect, heal, and feel less alone. When there is no villain, no antagonist, no clear balance – sometimes, that makes both life and theatre equally difficult and beautiful.

This is not your usual escapist musical filled with hearts and roses. It’s an aching, engrossing love letter to the messy, wonderful, awful chaos of being human. Great stories unravel hearts and open minds. Raw, cathartic, and unflinchingly authentic, No Love Songs delivers just that.

No Love Songs is on tour around the country. For date/time sessions for your local area and to book tickets to No Love Songs, please visit https://www.nolovesongs.com.au/.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Ladies In Black – SOLD OUT!

Ladies In Black

Ladies In Black Rating

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8

You can only hope that you already have a ticket or that they add an extra show, because only a short way into their latest run, Beaumaris Theatre have already sold out on their production of ‘Ladies in Black’. A story of the women working in a Sydney department store in the 1950s, full of gorgeous costuming and highlighting that era’s seriousness together with frivolous fun!

I took my Mum along to this one, I thought it was her era, but she was quick to remind me she was not that ‘old’ and she would’ve only been 10 then LOL. She did however love the show and much of the script was very relatable as success in many women’s equality movements wasn’t strongly successful until much later.

In fact, even my own Mum sent me to ‘secretarial school’ in the 80s, something that Lisa (played by Rose Chambers) knows her father will insist on if she cannot get her mother to help convince her father she should be allowed to go onto university. The 50s beliefs for traditional families stayed locked on men being smart enough for further studying and careers, whilst women were to focus on getting married, having kids, cooking / cleaning and perhaps get a ‘girl’s job’ (like being a secretary or working in a store). This musical is about that life in the 50s for women.

Lisa’s character is centre of the story as she prepares to work at ‘Goodes’ for the holidays whilst she waits for her final schooling results to see what university courses she can apply for. She is smart and might even get a scholarship. Lisa wants to be a poet. “A poet?!?” is the normal response with a snicker from most when she mentions it.

However, things will change when Lisa meets the ‘crazy continental’ European supervisor in the designer-dress department, Magda (played by Bek Champman), a connoisseur of elegant fashions from around the globe. Magda takes an interest in Lisa and her vision to become more of herself. Both actresses are very entertaining to watch as Magda (pronouncing a great accent as she speaks), influences Lisa’s girlish look and ideas into the possibility of new beginnings.

 

Lisa’s co-workers ‘Fay’ (played by Amy Gridley) and ‘Patty’ (played by Jacqui Moore) have their own stories going on in the background and one particularly funny moment on the side with Patty’s on-stage hubby Frank (played by Dan Bellis who also happens to be Jacqui’s partner in real life – luckily I’d say given their positioning).

You will laugh along with the rest of the audience to ‘The Bastard Song’ whilst you might mentally try and guess the next rhyming word to ‘bastard’, describing Patty’s on-stage hubby. By the end of the show, will he continue to be a bastard?

The show is very well cast and is another directed by the lovely Debbie Keyt with her team Rhonda Vaughan (Musical Director) and Camilla Klesman (Choreographer). This is my third review for Beaumaris Theatre and I also see other shows there; they are all fabulous. The set on this one is also fabulous, fab fashion of gorgeous dresses sets the tone immediately we walk in. We don’t notice that the beach scene isn’t at the beach because Magda steals the limelight in her one-piece to sit on her deckchair, flattered by her husband Stefan (played by Daniel Ischia) and good friend Rudi (played by Justin Royce). She is definitely NOT ‘mutton dressed up as lamb’.

I loved the opening of ‘I Got It At Goodes’ with the department store girls harmonious in singing and dancing with their shopping bags, Miss Cartwright (played by Kirsty Hall) is thoroughly every bit the boss in-charge, the surprise fun of ‘I Just Kissed A Continental’ and ‘I Can’t Be That Man’ was a tug on tears in feeling for that hubby who couldn’t be who he wanted to be. ‘Tomorrow Becomes Today’ was a meaningful solo for Lisa and again as the well-applauded finale song, though I must be honest, I did want to hear ‘The Bastard Song’ just one more time hehe (just in case they want to encore it as a popularity vote at the last show).

Shout out to everyone ducking and weaving in the song of ‘Pandemonium’ – great stage awareness and you all realistically engulfed the pandemonium at sales time! (Both my girls work in retail, and this is exactly what they describe from the other side of the counter).

I probably don’t need to say much more… what can I say… Ladies in Black at Beaumaris Theatre is SOLD OUT!!

PS. JOIN THE WAITLIST https://www.trybooking.com/events/landing/1318481

Don’t miss the next show of Beaumaris Theatre and get in early!! They have ‘Knife Edge’ coming up in May, ‘The Witches’ in August and ‘Blackadder II’ in November.

Tickets via: https://www.beaumaristheatre.com.au/

Venue: Beaumaris Theatre, 82 Wells Rd, Beaumaris, Melbourne, Victoria. The theatre is a small one but they always use the space well and hence good seat viewing from everywhere. Extremely welcoming front of house team, free tea / coffee and reasonable pricing in the canteen for interval, plus it’s easy to park in the surrounding streets.

Congratulations to everyone on the amazing effort for ‘Ladies in Black’

CAST:
Lisa – Rose Chambers
Frank – Dan Bellis
Myra – Gabi Bergman
Magda – Bek Chapman
Fay – Amy Gridley
Miss Cartwright & Joy – Kirsty Hall
Mr. Miles & Stefan – Daniel Ischia
Patty – Jacqui Moore
Mrs Miles – Roisin O’Neill
Miss Jacobs & Mrs Crown – Katrina Pezzimenti
Rudi, Lloyd & Fred – Justin Royce
Barmaid – Fiona Williams
Customer – Cheryllyn de Vries

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

A Journey to Little Happiness: A New Musical

A Journey To Little Happiness

A Journey To Little Happiness Rating

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9

The title says it all. This show from Taiwan is a lot of fun. The five cast members bring this new show to life on stage. It was fitting on International Women’s Day to see this cast of five women show the acting prowess coming out of Taiwan.

As we enter the venue, we are greeted by the cast in the audience space, making rhythmic sounds and movement. The house lights go out, and the cast moves straight onto the stage and into their first song. And from this first song, the audience is captivated. We know we are in for a good night of musical theatre.

The story is simple yet beautiful. It revolves around an email written 10 years previously. This then causes the five friends to have a reunion. Not a traditional reunion, but one at their old childhood hideout. This causes a range of childhood memories as they embark on playing some of their favourite games. Long-forgotten memories are released whilst playing the games. The audience participates by spinning a chocolate wheel to pick games. We have hopscotch, skip rope, and kick the can. As they play these games, it stirs their memories of gentler times.

And how, now, 10 years later, life has changed. It is more complex. The joys of childhood have faded. But the games do, in fact, strengthen their friendships, and they vow to meet again. It shows how important our early friendships are in our lives. We need to cherish these memories and friendships as they shape us for adulthood.

The choreography and musical pieces significantly enhance the narrative. The music includes elements of traditional Taiwanese musical instruments and rhythms. Chien-Lin Chen wrote the music, and Cindy Chen choreographed. The costumes are based on what children would have worn, with adult elements.

The venue is a little on the echoey side for a musical, but the audio team and cast coped well, and the mixing was clean and crisp. The lighting was a little on the turn on lights to see, until the end when colour was introduced. This colour element helps reinforce the strengthening of their friendships and a brighter future.

This cast works well as an ensemble. The natural acting style makes it very believable. The cast consists of Hsaio Lu, Zhao Zhao, Cynthia Yang, A Hsin, and Pei Chi. The cast is directed by Qiu-Yi-Bao Lai. He has a great sense of the story being told. This is a worthwhile show to see, so keep an eye open for it.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

AVENUE Q – hold on to your puppets!

AVENUE Q

AVENUE Q Rating

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7

Avenue Q – Hmmm …?? Ummm…?? Grab your…. Ahhh…

Lots of prior guessing what this show would give to an 18+ adults-only with ‘puppets behaving badly’ …. I had never seen it before nor heard of it, yet in Broadway history it beat out Wicked, how was that possible? This is puppets looking similar to those you’d see on Sesame Street! Mind you, they definitely don’t have the same vocabulary.

Get ready to LAUGH!!! I’m not actually a huge fan of explicit content and sexual innuendos in shows, hence a lot of stand-up comedy nowdays doesn’t entice me, but this was a musical, so I couldn’t possibly not go. I got good seats and took my hubby (driving in he asked me what it was and when I said from the information I had it was like an adult version of Muppets, I think he stopped far longer at the red light than needed, hmmm….).

There’s no hiding explicit content and sexual innuendos in Avenue Q, they are in nearly every scene, but as its expressed from puppets I thought it was very FUNNY and even more CLEVER!

Something I’d never think we would hear about in a musical was open loud reference to ‘porn’. With a whole comical song on the topic, the audience were in stitches and the guys sitting in front of us were almost rolling out of their seats. You’ll have to go experience that part as I don’t want to conjure up anything not quite accurate here – I was also laughing so much at the huge porn-loving puppet I probably lacked concentration whilst watching. I don’t know how the actors on stage with him practiced at rehearsals, but I’ll bet it was nothing like anything they’d done before.

Talented and adaptable is an understatement of this cast. To be able to hold a puppet and portray a character isn’t something I imagine many performers could pull off with the kind of confidence and interaction they do, but especially to sing and move in conjunction with another actor holding the adjoining arm of the same puppet; their timing was spot on!

There are non-puppet characters too – a hoot is “Gary Coleman” in a parody of the real-life child star with the same name; he’s the ‘maintenance man’ of the apartments on Avenue Q where hopefuls, lovers and friends live their ordinary lives in New York city. Having grown up with that child star on my TV, his lines made perfect sense to me for a bit of a giggle.

‘Sucks To Be Me’ was my favourite scene, because everyone thinks that of themselves at some time in their lives, but let’s be honest, there’s always someone worse off than you are. The show has many messages of a similar tongue-in-cheek nature, however the underlying theme is a timeless story of not giving up hope (that’s like Sesame Street HAHA).

Funnily, you may want to close your eyes or look away occasionally or you might find yourself staring jaw-dropped at the stage figuring it all out. It’s a sexy romp of puppetry at times and just super cool fun at others, songs with catchy tunes and notes with punch – a sing out to Cassie Ogle playing vixen ‘Lucy’, what a voice!

 

If you are thinking that you don’t like the sound of possibly ‘sex obsessed’ puppets on stage, it’s really not too over the top (Avenue Q is from the 2000s and we didn’t do overly confronting back then). You could go with your mother-in-law, but a group of friends would absolutely have one hilarious night out to remember.

Another thing about ‘AG Theatre’ productions that stands out for me is the atmosphere they create in the foyer pre and post show. You can take photos on their backdrop board (with the puppets) and pin those all over your social media to puzzle your friends not lucky enough to go along.

Avenue Q is a must-see, and if you’re into going out in theme, wear your wigs and puppet ears (you won’t the only one). The show has just been extended to play at the National Theatre in St Kilda until 22 March 2025. Tickets via https://agtheatre.com.au/avenueq/

This was one comedy I loved, thank you for a very fun night.

Congratulations everyone!

CAST:
Princeton: Harley Dasey
Kate Monster: Zoe Crisp
Nicky & Trekkie: Andrew McDougall
Rod: Jonathon Shilling
Lucy & Mrs T: Cassie Ogle
Bad Idea Bear & Puppeteer: Perri Espinoza
Bad Idea Bear: Darcy Harriss
Brian: Matthew Tomlin
Xmas Eve: Chiew-Jin Khut
Gary Coleman: Stephanie Lacerna
Swings: Liimei Lim, Jake Lonergan

Production Team:
Executive Producer: Andrew Gyopar
Director: Pip Mushin
Music Director: Alexandra Byrne
Choreographer & Assistant Director: Adriana Pannuzzo
Production Design: Abbey Stanway
Costume Design: Karen Spencer
Puppet Design & Creation: Andrew McDougall
Graphic Design: Jett Archer

AVENUE Q
Music & Lyrics by Jeff Marx & Robert Lopez
Book by Jeff Whitty
Licensed exclusively by Music Theatre International (Australasia)

Photo credits: @agtheatreproductions

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.