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

Once On This Island

Once On This Island Rating

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2

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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2

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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4

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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Still Savouring: Castle Hill Players’ Tender and Sweet Production of ‘The Last Five Years’

The Last Five Years

The Last Five Years Rating

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4

‘The Last Five Years’ is an ambitious show to take on; a Jason Robert Brown score is no tame beast, and the intimate vulnerability required for this particular show to really fly asks a lot of its two actors. Castle Hill Players’ production, which runs from the 25th of July to August 16th, and has the pain and humour, the nuance and stillness, that this book and score deserve.

Director Julian Floriano has done a really wonderful job. The staging has to hold together story threads that are moving in opposite directions, and actors who barely have any points of physical interaction; Floriano has created spaces for the songs and actors to shine. Storytelling through character-building is the base required for this show to succeed and it is done excellently here.

Julian Badman of Your Place Architecture has designed a really beautiful and effective set; one of my personal favourites I’ve seen in a theatre recently. Gentle ripples of semi-sheer fabric hang in layered walls across the stage. At different times you can see characters or the band through them, or they are raised to reveal a scene in a new place. Cathy and Jamie (the two characters) move around each other through this mist, the curtains literally lifting to reveal moments of insight.

 

 

This show has a rotating cast, and the dates each will be performing is available at the booking link. Opening night began with Cassidy Donovan’s performance of ‘Still Hurting’ which is perhaps the song with the highest profile. Donovan is captivating from the start, and steps to the challenge of such a famous and devastating number with gentle ease. Her comedic moments are some of the highlights, and her energy is excellent.

Levi Burrows’ Jamie is goofy and ambitious, and he nails the moments where Jamie has an open flank. For much of the second act to resonate, Jamie needs to be someone the audience connects to genuinely, and Burrows catches the youthful joy and genuine love to do this.

David Catterall leads the small and mighty band excellently, and the sound mix meant the strings, played by Jade Jacobs, Heather Hinrichs and Ian Macourt, can harmonise evenly and beautifully Chris Everest’s lovely guitar playing. Catterall plays Jason Robert Brown’s intricate piano parts with a delicate touch, and Dominic Yeap-Holliday holds down the rhythm section (on bass) with aplomb. Bernard Teuben’s sound design across the entirety of this trip to the theatre was excellent; I hope the lobby playlist was curated specifically for this because it fit perfectly.

This is the only full-fledged musical on the books for the Castle Hill Players this year, and is definitely worth seeing. If you are not a fan of a the big song and dance of traditional musical theatre, this really good production of this award winning show offers a different way into the art-form. This is a very human story told with both humour and compassion by a skilled cast and band.

To book tickets to The Last Five Years, please visit https://paviliontheatre.org.au/the-last-five-years/.

Photographer: Chris Lundie

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