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. Itās a format that could easily flag, but in Cameron Mitchellās brisk staging the pace feels more like momentum than overload, sustained by four performers who never let the energy drop.
The archetypes are simpleāProfessional Woman, Soap Star, Housewife, Earth Motherābut 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 Whatās 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 Langtonās Housewife combines warmth and honesty with gleeful broad comedyāher 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 Muttonās costumes start in recognisable shorthandāpower suit, flowing layers, domestic comfort, showbiz glamābefore sliding into sillier territory. The red lingerie gag and the final sparkly outfits underline the productionās refusal to take itself too seriously while still keeping the glamour dialled up. Frances Storyās set is functional but bright, leaving space for the performers, while Jasmine Rizkās 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 themselvesārewritten classics from the baby boomer songbookāare instantly familiar, and that recognition is half the joke. For an audience of āladies of a certain age,ā as the program knowingly puts it, the combination of nostalgia, camp, and shared experience is irresistible. Saturday nightās crowd responded with knowing laughter, cheers, and a standing ovation.
Menopause the Musical is not a show for subtlety or story. Itās a night of energy, glamour, and communal release. In this Sydney staging, thanks to a committed cast and slick creative team, the formula still worksāand then some.
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. Itās 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. Itās intimate and luxurious.
What follows is a breathtaking journey through Sondheimās songbook. Yes, the big numbers are here, but so are the deep cuts and the āwhy-donāt-more-people-sing-this?ā gems. Iām 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 Seuratās 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 thereās 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 Iāve 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. Thereās an emotional directness to her performance thatās magnetic. Her choices are always fresh, never predictable and she elevates everything she touches with nuance and grace. Her Iām 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 wasnāt a moment when their performance wasnāt 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? Iāve already booked to see it again.
This is one of the finest tributes to Sondheim Iāve seen anywhere in the world. Donāt miss it.
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 SteedmanĀ 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 ātriple-threatā 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 ā40s in the American South. Steve Martin and Edie Brickell were inspired to write Bright Star after discovering an old newspaper article about the āIron Mountain Babyā – 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 youāll 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 Burnsā 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, SeƔn 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. Katrinaās stunning vocals, especially her harmonies with Hannah, were unforgettable. Her raw intensity in the harrowing scenes amplified the emotional impact. Rupertās portrayal of an uncompromising father, weighed down by regret, was equally strikingāhis natural, convincing delivery perfectly suited the showās 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.
The stage is set – I look at an enormous map of Africa, sails caught up with shipwrecked boxes and listen to the atmospheric opening sounds of the African jungle to soon be pierced by a baby’s cry – Tarzan’s cry, though he is not yet named ‘Tarzan’ – the next two hours will be his story.
TARZAN The Stage Musical has swung into life in Melbourne over the past couple of weeks and Iām so happy to have been invited to one of their final shows for review. Iāve seen three shows this week and this was my favourite – the other two were professional city shows so that’s saying something. My daughter could not believe she had been so engrossed when it was āinterval alreadyā. We sat next to one of the āAnniesā having a night off from playing her own famous character in the city currently, and when I asked her at interval what she thought thusfar she eagerly replied āIām LOVING it!ā (excited to see her singing teacher in the cast too)
Get on the website to book the last tickets remaining until Sunday 14 Sept. Ticket link: https://nationaltheatre.org.au/tarzan/
The blurb on the show told me: TARZAN ā The Stage Musical brings Disneyās epic animated film to life on stage in a high-flying action adventure, complete with aerial choreography and unforgettable music to the soundtrack of Phil Collins. Tarzan struggles to find where he truly belongs, torn between the animal kingdom and the human world. With book by Tony Award-winning playwright David Henry Hwang, at its core TARZAN is a story of identity, love, and the universal quest for connection.
Typically, the Disney TARZAN draws interest of course from adventurous kids, but there were more adults in the audience woo-hooing tonight and much of it for Joshua Russell as āTarzanā – the exact required look he definitely has and demanding skills for this unusual role; he strongly mastered those vine swings and strode a masterful āape walkā – his body must now be well adapted to that gait. Same for all the gorillas, excelling in their emulation of animal behavior and their acrobatic and dance which combine to give a seamless presentation of orderly uncontrolled chaos – there is so much going on, itās exciting!
Usually I have a preference for certain characters by the end of a show, but in this one I didnāt, I liked them all and they were all played exceptionally well.
Seriousness and laughs from Jane and her father Prof. Porter were fun moments, played by Emily Robinson straight out of graduating from the VCA and Drew Holmes with an impressive history in shows too long to list.
Sarah Murr as āKalaā (Tarzanās ape-mother) is pure curated talent. It did not surprise me later to read about her role recently playing in Hadestown at Her Majestyās. Matching up Sarahās talents alongside Devon Braithwaite as āKerchakā (Tarzanās ape-father) was perfect casting, and no wonder – he trained at The Boston Conservatory (USA). Iād love to see these two play again together in another show as non-animals after witnessing what they can do with a non-human role.
The scene where the gorillas inquisitively meet Jane and her Dad was both touching and tragic. The loss of one of Tarzanās ape family had an empathetic music choice and the gun shots were unnervingly real, as was the formidable acting of Nick Eynaud as Clayton, jungle guide who had another goal on his agenda.
Emma Wilby Owers playing āTerkā (Tarzanās ape-buddy) nailed every line and expression, body movement and reaction. Another one to watch – thereās a heap of stars in this show!
Ollie Pearce as āLeopardā brought the adrenalin rush, well focused with that slyly power and the Ensemble working every bit as hard as all the leads, sometimes more so on the energy required for partner throws and crazy wildness.
Finally, shout out to Young Tarzans, Daniel Lim and Sebastian Dovey Cribbes, both would have had an absolutely unique experience in this script and who wouldnāt want to play āTarzanā learning how to fruit pick and hang upside down. Whichever youthful Tarzan you see when you go along to watch you have to admire what these juniors in theatre can do and the confidence they have – theatre is so great for kids.
As always, I love the memories theatre can help recapture and looking later at the detailed program for this production, I have a mental flashback to watching a much earlier Tarzan on screen; Olympic swimmer Johnny Weismuller. Certainly not like the vivid colours and amazing action I saw everywhere on stage tonight with hundreds of green hanging vines, twisting and tumbling acrobats, dancers defying what their bodies can do naturally, but those calmer old black and white movies weād sit down to watch on weekends and after which my brother would disappear to be āTarzanā in our backyard Willow tree. Yes, this is a story which has stood the test of time in any format with no mobile phones needed (they donāt work in the jungle anyway).
Oh – and hold out for that distinctive Tarzan jungle call, how does one describe that?
Congratulations to all the cast and the James Terry Collective creative team, you have all done yourselves proud!
Playing: August 29- September 14, 2025 Venue: The National Theatre, St Kilda Website: www.tarzanstagemusical.com.au
CAST Tarzan- Joshua Russell Jane – Emily Robinson Kala – Sara Murr Kerchak – Devon Braithwaite (alt. Joti Van Carlos Gore) Terk – Emma Wilby Prof. Porter – Drew Holmes Clayton – Nick Eynaud Young Tarzan – Daniel Lim & Sebastian Dovey Cribbes Ensemble – Simon Fairweather, Brittany Ford, Josephine Lopes, Sammy Allsop, Matilda Simmons, Ollie Pearce, Liimei Lim, Adriana Pannuzzo Emma Wilby, Gabriel Marsilli, Ayril Borce, Arjun Tiwari, Patrick Friedlander, Nicholas Dugdale.
TARZAN The Musical is Directed by Alister Smith (Elvis a Revolution, The Boys in the Band), Choreographed by Michael Ralph (The Wedding Singer, Legally Blonde), and Musical Direction by Claire Healy (SIX the Musical)
Adapted from the story āTarzan of the Apesā by Edgar Rice Burroughs and originally Produced on Broadway by Disney Theatrical Productions. TARZAN Ā® owned by Edgar Rice Burroughs, Inc. Licensed exclusively by Music Theatre International (Australasia).
