Musical - Whats The Show

Dirty Rotten Scoundrels

12/09/202612/09/2026 Debra Campbell🥇🔥🦉🎭🎶

Dirty Rotten Scoundrels Rating

★★★★★

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In 1988, out came rave reviews from the critics for the movie of DIRTY ROTTEN SCOUNDRELS.

I, nor my husband, have seen it on stage until tonight. So, after a lovely dinner next door at the Gracious Grace Cafe (highly recommend), we take our seats for the musical version playing currently at a reminiscent olde-world theatre in Lilydale.

The story is predominantly still about a comedic trio, what we’d not-so-politely call ‘scammers’ today, but this is a classic rendition much more exciting than a quick swipe stealing of your credit card or bank account warning. This is true art; a well-thought out and well-played in-person scam with a twist.

A suave British con artist ‘Lawrence Jameson’ brought sophisticatedly to life by Phil Lambert wearing the best high-class suits, devours the purses of wealthy women whilst living in a fancy mansion having had successful rich-tourist season assistance for years from the local Chief of Police.

In contrast, the unapologetic American ‘Freddie Benson’, a newcomer to the sun-drenched Beaumont-sur-Mer resort town, works his own style on gullible ladies who can less afford his attention. I can’t tell you how many times Rob Blowers steals the show here playing lovable larrikin Freddie with ease on comic timing and a definite natural acting ability to liven his character to the max.

Exceptionally well played by both actors; I observed ‘Lawrence’ on purpose watching ‘Freddie’ in some scenes and wondered how on earth Phil didn’t break his serious demeanor for even a split second at Rob’s hilariously acted antics. Experience shows, Phil is in his eighth show at his favourite Melbourne theatre and Rob is making his debut here but on the circuit for a decade – so both bound to asked back again. Sometimes I wish stage shows could also play ‘behind the scenes and bloopers’ like films do (maybe in the foyer afterwards). I’d love to see how much the cast laugh and if the Director can always keep a straight face. We certainly couldn’t between these two!

Anyway, two prospecting men after unsuspecting females enjoying the French Riviera at the same time soon becomes overly competitive for each to survive financially. A ‘winner takes all’ challenge is set, and the unhinged duo’s team target is aimed at the arriving Soap Queen ‘Christine Colgate’. Her father’s factory must produce the most popular washing powders and fabric softeners, she must be worth a bet of say….$50,000?

Whoever can convince Christine to part with her fortune will win! The losing swindler will walk away from their thefty tricks upon this ultra-luxurious territory.

‘Christine’ played with kind innocence by Madeleine Magetti (instantly recognized her voice from seeing her play the lead in Sweet Charity), is fantastic in this role allowing her to be two personalities in one with a switch up not everyone will see coming.

As with all shows holding space in a time gone by, I look forward to seeing all the clothing sourced for costuming. I particularly loved Christine’s pristine mint green dress, admired the trailing red satin gown and many pieces from this golden era in the opening numbers.

Gabi Bergman, one multi-talented performer for sure is shown off in her ‘western swing’ attire as ‘Jolene’ enthusiastically driving the song ‘Oklahoma?’ with plenty of smiles as the ensemble dance up chaos around her. This energy also gets a few gasps from onlookers to see the flexible talent of Phil as he spins Lawrence into a heel tap and toe before a high kick! What a scene!!

Woo-Hoo Phil, you’re an inspiration to my hubby who used to be a dancer, proof that everyone should just keep dancing for joy, or as my hubby said perhaps pulling a hamstring 😉

We laughed and laughed and there were so many scenes in which we did – the romantic night/morning between Andre and Muriel was a stand out with such clever lyrics, and Freddie’s ‘Great Big Stuff’ got a great big cheer from the audience. Many memorable lines from the movie are turned into these song and dance spectacles with the ensemble taking a large part to encompass the whole set – fabulously simple but effective in changing constant props. Whether it be a feather duster dancing around or a candlestick holder amusingly used, it all makes the show very creative with some ad-lib moments too (I’m pretty sure reference to Trump is not in the original script).

Surprisingly a romantic subplot between Lawrence’s crooked authority ally, ‘André’, played tongue-in-cheek perfectly by Tim Murphy, and character ‘Muriel’ portrayed with pzazz by Lauren Seymour, adds an extended side story all of its own.

When ‘Jolene’ entertainingly calls out Lawrence for far more than he bargains, hidden away ‘brother’ “Ruprecht” (alter-ego Freddie) comes to the rescue with Rob smashing out this quirky character equally.

Despite having some differences, and of course lots of songs added, the original story remains and is just as enjoyable in fun as the 1988 film.

This production of DIRTY ROTTEN SCOUNDRELS is OK for all ages I think in today’s world (note there is one swear word yelled in fun and some even funnier suggestive innuendoes) but it will probably be especially popular with an older generation and anyone who loved the movie will be impressed.

Congratulations to:
Director: Alan Burrows
Musical Director: Mark Cluning
Choreographer: Nicole Kapiniaris-Anson
Asst. Director: Francesca Carl
Music Supervisor: Colin Prowasky
Set Designer: Barry Pearce
Lighting Designer: Deryk Hartwick
Costume Designer: Maria Smedes
Props: Gina Ingham & Steve Turner
Production Manager: Nicholas Ryan
Stage Manager: Steve Tanner
Asst. Stage Manager: Bella Da Silva

CAST
Lawrence – Phil Lambert
Freddie – Rob Blowers
Andre – Tim Murphy
Christine – Madeleine Magetti
Jolene – Gabi Bergman
Muriel – Lauren Seymour

ENSEMBLE
Gaynor Borlase
Abby James
Jess Lowman
Gary Barcham
Horatio Yen

DIRTY ROTTEN SCOUNDRELS is playing NOW at the Lilydale Athenaeum Theatre from 10 – 26 September
Venue address: 39-41 Castella St, Lilydale, Victoria (free street parking). The theatre itself is adorned inside with historical stories to read about including the Dame Nellie Melba room – so interesting. They provide free tea/coffee and snack at interval, plus a complimentary pre-show and after-show drink.

Ticket link: www.lilydaleatc.com

Box Office tel.: (03) 9735 1777 if vouchers suit better as an excellent gift idea for the person who has everything!
Next show up is ONE MAN TWO GUVNORS playing 19 Nov – 5 Dec 2026

To book tickets to Dirty Rotten Scoundrels, please visit https://latc2020.sales.ticketsearch.com/sales/salesevent/152495.

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Legally Blonde

22/08/2026 Annie Zeleznikow🌟🎭

Legally Blonde Rating

★★★★★

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Legally Blonde is a wonderful musical with numerous power ballads and harmonious greek chorus numbers. This show follows Elle Woods as she realises she is stronger and smarter than she knows. Stars and the Moon production of Legally Blonde was able to bring an entirely new dimension to Elles’ story, utilising the signature partnered roles to add depth and richness to this production.

Stars and the Moon is an all abilities production company, with all of their shows utilising a buddy system for each role, where “at least one castmate identifying as living with a disability, disabled and/or neurodivergent”. This creates a warmth to every show that they do, since the inception of the company. Through providing a space on stage for all those that wish to participate, Stars and the Moon creates an atmosphere of acceptance. More than that, the production includes a large front of house team, with 2 versions of programs available, going above and beyond in creating a space that is widely accessible.

The show began with an introduction and explanation of what to expect for the evening. Instructions were provided for those who might have sensory issues, and permission was granted to leave the theatre if audience members were feeling overwhelmed, over joyed, or over excited. That sort of introduction reinforced what I already knew at this point, that this production was carefully crafted to be inclusive and accessible. Audience members did sometimes have difficulty remaining quiet, although not intentional, this was at times quite distracting and prevented me from paying attention to what was happening on the stage.

The costumes were thoughtfully designed by Jessamine Moffett, with partnered castmates wearing the same costume. All costumes had accessible components, with comfortable looking shoes or clothing that adheres to a castmate’s sensitives. The designs went beyond presenting the show in a meaningful and interesting way, and were clearly practically thoughtful too. In addition to the thoughtful costumes, the design of the set and props (by Harry Gill) was thoughtful and created with intention. The set was wheelchair accessible, with both stairs and ramps, and allowed for the whole cast to participate fully in the production.

Given the nature of at least two actors for each role, the stage was often filled with cast members. Throughout the show the entire ensemble remained energetic. The choreography (by Benjamin Curé) greatly caught my attention, remaining engaging and considerate of the needs of all actors on stage. In particular, Karl McNamara and Mark Polonsky stood out during their performance of Blood in the Water, a number where the audience is introduced to what class looks like at Harvard Law School. McNamara and Polonsky lead the number with a nice cadence and depth. Similarly, Ruth Ben-Danan and Em Svarnias as Brooke exceeded my expectations during their big number, Whipped into Shape, with a silly and sharp interpretation of their role.

I would be remiss if I didn’t address the spectacular efforts of Kelsey Halge and Natasha Frieberg as Elle, Lawrence Hawkins, Alexander Gilbert and Eloise Vernon as Emmett, and Alanna Julian and Katie McMillan as Paulette. Halge and Frieberg were able to sustain an intensive role while making it appear effortless, with impressive vocal work and harmonies. Hawkins, Gilibert and Vernon had delightful chemistry, often sharing small moments on stage where they connected with each other, showing real connection had been built throughout the rehearsal process. Julian and McMillan charismatically injected bold humour into the show.

Having seen previous shows produced by the Stars and the Moon production team, I continuously remain impressed with the quality of the work they produce. In the past, utilising fantastical shows such as Spongebob or Shrek, meant that the castmate system thematically added layers and complexity to the show. I found that with a more grounded show such as Legally Blonde, the castmate system didn’t quite have the punch it did in previous shows. I greatly admire how this model allows for diverse people to be on stage, and the production team has only chosen interesting and exciting shows to produce. Continuing to choose shows that can be improved with the cast mate system will mean that exciting and innovative art will continue to be made in Melbourne.

To book tickets to Legally Blonde, please visit https://www.starsandthemoon.org/.

Photographer: Matthew Chen

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Like A Bird Who Longs To Fly: A Woman’s Road To Freedom

22/08/2026 Nicole Salinger🌟⚡🎭🎪

The Deplorables Rating

★★★★★

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In today’s world, what does it mean to be free? Is it a feeling of liberation from the rules that society dictates, or is it a fire of truth within us that refuses to simmer down?

Marking a 2-year benchmark, ‘The Deplorables’, an award-winning production by female-led regional theatre company Skin of our Teeth Productions, marks its final inning at Theatre Works with empowered pride and pure, theatrical joy. Where in a span of 70 minutes, the audience is fully immersed into a no-holds-barred historical tale of female bravery and resilience set in 1874 in Bendigo, where an all-women’s cricket charity match takes place to great communal acclaim with lots of money raised and 22 women praised for their sporting prowess.

As they celebrate their joy and liberation, chaos and backlash ensue – when the press declares that these women are ‘Deplorable’ for playing a male-dominated game, and should instead ‘know their place’ and ‘stay home’. As the story unfolds, we experience the courage and resilience these women face – to fight for their sense of freedom: to be who they are without limitation.

Written and directed by Christine Davey, and composed and choreographed by the very multi-talented  Tess Parker, this heart-warming story begins with a minimal yet highly-symbolic set framed around this 19th-century period. Four descending pillars of chains cleverly embellished with stage props used throughout, in particular; a hand-held 19th-century moustache to depict the male-roles. Birds resting in cages near signs that say ‘Rules Of The Game’. Red and blue uniformed blazers displayed on sewing bodices marking the juxtaposition of identity; of the changing roles that are budding in that society. A curvy armchair depicting a feminine world in which they must sit quietly. While behind, in a trunk marked with the word ‘Hope’ – colourful cricket bats rest in anticipation – hoping to get a game, or perhaps hoping that society changes its tune.

Blending engaging Australian music and striking physical movement, this delightful, quick-witted, show consists of six highly-talented women who bring commitment to their roles with immense energy and enthusiasm; each bringing different layers to tell this courageous tale.

Marie-Claire Tchernomoroff stuns as Barbara Rae with such tender emotion, immediately connecting to the audience with dreams – of achieving more than just sitting still. Of harbouring a secret wish: to fly freely like the bird she tenderly holds in her hands, away from its stilted cage. Danae Reid as Miss Gerber and Aeonie Ostik-Smith as Katie Petrie bring the musical comedy elements of this show to new heights, with beautiful, heartfelt singing and added flavour, displaying their loving relationship with subtle sensitivity. But Tess Parker, stepping into the role of Miss Murdoch? Absolutely steals the show. With her ball of blazing comedic energy, she combines the exact ingredients of humour, storytelling and sass that engaged me thoroughly. Tess Parker managed to entangle me into a world of a 19th-century woman, who despite her limitations, continued to fight for momentary joys – in humour and in sadness. For in watching her, I too was able to embody the feeling of inner-sovereignty, in a world that perhaps even today, seeks to halt the path of what it truly means to be free, for all of us.

To book tickets to ‘The Deplorables’, please visit  https://www.theatreworks.org.au/2026/the-deplorables

Photographer: Mary Steuten

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Tony & Gaga: An Opulent Big Band Experience

05/08/202604/08/2026 Jenni Peters⭐

Tony & Gaga: An Opulent Big Band Experience Rating

★★★★★

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Most know the late Tony Bennett and the much younger pop icon, Lady Gaga, who shared a musical partnership and a friendship for decades. Both were Italian singers with a mutual respect for each other, as well as two collaborative jazz albums.

After first meeting at the 2011 Robin Hood Foundation gala in New York City, when Bennett told Gaga, “Lady, you are a jazz singer”, later that year Gaga recorded “The Lady Is a Tramp” for Bennett’s Duets II album.

So successful, they then released the chart-topping jazz record Cheek to Cheek in 2014 and the Cole Porter tribute album Love for Sale in 2021.

What many don’t know is the mutual impact and support they shared revitalized Gaga’s love for music when she was considering quitting the music industry. Their partnership was that profound.

For the amazing Tony & Gaga tribute show in Melbourne last Friday, acclaimed powerhouse vocalist, Sarah C, (Dancing with the Stars, X Factor) teamed up with debonair Melbourne fashion icon, Dom Bagnato, to sing the unforgettable hits of the American Songbook.

Arguably, some of the best songs ever produced in our history, some nearly 100 years old, these timeless tunes fit somewhere into our lives emotionally, still today.

When I last reviewed Sarah’s ‘Soul Divas’ show, I met Dom in the audience, excited about doing this new show with Sarah C.

This had developed when Sarah and Dom had sung together at the birthday of Dom’s daughter when they realised they had some great musical mojo together. Now, the rest is history.

No coincidence, the 20-piece band backing Sarah and Dom on Friday night were named the Mojo Orchestra and, the chemistry between Sarah and Dom with this great band, was an absolute treat to behold.

Dressed in dinner suits and bow ties, the Mojo Orchestra stage setting was reminiscent of the halcyon days of the Glenn Miller Orchestra. Mojo had the same musical precision Miller’s band was famous for – when to come in loud and when to pull back – without anyone knowing how they timed that.

The first song of the night, sung by backing singers Cathy Moloney and Julie Kemelfield, was ‘Summertime’, from the musical Porgy and Bess. They were there to warm us up so, we had no idea how opulent our experience was about to be.

I had just flown in Friday morning from a friend’s “007” wedding in Greece and a week in Thailand’s relaxed humidity, straight into Melbourne’s frosty Friday night to do this review, so ‘Summertime’ seemed serendipitous.

I was ready for the warmth of “crooner” tunes, when Musical Director, Peter Foley, introduced us to Sarah C and Dom Bagnato as Gaga and Bennett and their first duet, the classic, ‘The Lady is a Tramp’. It is a playful song about a woman who hates strict social rules, made famous by singers like Frank Sinatra and Tony Bennett, celebrating being free and real. What more could one want?

Sarah C, always so glamourous – was wearing a leopard print blazer, diamante brooch and a Fedora hat, the first of her many changes – showed us her vocal versatility with some matching Beebop, (first developed in the 40s by legends like Charlie Parker and Dizzy Gillespie.).

The band sounded romantic and fabulous and the audience couldn’t wait to hear what more was in store for their evening.

Next, Sarah and Dom performed ‘Heaven’ with Sarah’s tone reminiscent of Amy Winehouse, she always sings so brilliantly; followed by ‘Night and Day’, composed by Cole Porter in 1932 for the Broadway musical, Gay Divorcee; and ‘Under my Skin’, also by Cole Porter in 1936 and adopted by Sinatra as one of his signature hits.

Dom bantered happily with our audience like he knew us all personally.

“When I travel, I like to sing, especially this one’, ‘I left my heart in San Francisco’. He sang a very apt tribute to Tony Bennett, who originally recorded and popularized the song in 1962, when it quickly became Bennett’s signature song.

Dom then chose the Sinatra hit, ‘The way you look tonight’, originally sung by Fred Astaire and, Mojo’s trombones were exquisite.

Then, another Sinatra hit with an arrangement by Quincy Jones from 1964, ‘Fly me to the Moon’ – later becoming tied to NASA’s Apollo space missions.

The Mojo band excelled during this number with their eight saxophones especially synchronised, powerful and melodic.

Sarah C returned to the stage in a long pink satin dress to sing us ‘La Vie ‘en Rose’ (Life in pink), in French. A wonderful tribute to Edith Piaf’s 1945 version, which later became a hit in the USA in the 50’s.

Next was ‘At Last’, originally recorded by the Glenn Miller Orchestra with vocals by Ray Eberle and Pat Friday in 1941. Most know Etta James’ 1960 soul version. Sarah C’s smoky depth gave us a little mix of both, Sarah taking full advantage of her exquisite 20-piece orchestra at that moment.

The audience was invited to take a break and on return, Dom treated us to a Sinatra and Dean Martin medley: ‘Come fly with me’, ‘All of me’, ‘You’re nobody ‘til somebody loves you’ and finally, ‘My Way’, which Dom sang with all his heart and soul, totally winning over the audience and causing us all to stand and cheer.

Sarah C in her a beautiful, long pink gown, tied in a huge bow – designed by Ella Atkins – paired with a stunning Halo diamante Tiara, sang one of my all-time favourite songs – once recorded by Sammy Davis Junior, John Coltrane, Michael Buble, and, most famously, the irrepressible Nina Simone – the very cool and extremely groovy, ‘I’m feeling good’.

To hear this classic sung by Sarah in an intimate band room, performed live by the magnificent Mojo orchestra, was spine-tingling.

As were the following hits, ‘Orange coloured Sky’ originally by Nat King Cole; ‘My Baby just cares for me’; ‘I get a kick out of you’; Duke Ellington and Ella Fitzgerald’s, ‘Don’t mean a thing if you ‘aint got that swing’ and finally, ‘New York. New York.’

By this time, the audience was singing along loudly and with joy.

Brunswick Ballroom is one of Melbourne’s live music gems. Not only does it host live original and cover bands of every genre on Fridays, Saturdays and Sundays – and some weekdays – on this marvellous night, it opened at 6.30pm for dinner before the show starting at 8.30pm.

Who doesn’t love a dinner and show?

This was something different – An opulent big band experience, everyone dressed up to the nines in an intimate ballroom, hosting a 20-piece orchestra behind two powerhouse voices, two good friends, who, like the real Tony and Gaga re-igniting these classics, had a camaraderie and talent too good to miss.

A time of chivalry, respect, romance and joy. Melbourne needs more of this.

Don’t miss your chance to see this great show. Upcoming dates are:

Frankston Arts Centre – Saturday, 5th September, 2026.
Birds Basement – Friday, 9^th October, 2026.

Booking Link – Sarah C Shows | Glamorous Live Entertainment & Performances | Sarah C sarahc.com.au

Mojo Orchestra:

Peter Foley – MD and Trombone

Cathy Moloney – Vocal

Julie Kemelfield – Vocal

Judee Horin – Piano

Doug Foley – Bass

Scott Hurley – Guitar

Paul Grage – Drums

Sean Wheatley – Alto Sax

Tracey Boekel – Alto Sax

Toby Amiel – Alto Sax

Juergen Moews – Tenor Sax

Michael Ruhsam – Tenor Sax

Leonie McNeill – Tenor Sax

Paul McDonald – Tenor Sax

Greg Day – Baritone Sax

Chris Ryan – Trombone

Jamie Grima – Trombone

Linh Du – Trombone

Darcy Neate – Trombone

Dave Melgaard – Trumpet

Leo Dellafiore – Trumpet

Lawrie Barnes – Trumpet

Enrico Bazzani – Trumpet

Andrew Pyrcz – Trumpet

To book tickets to Tony & Gaga: An Opulent Big Band Experience, please visit https://brunswickballroom.com.au/whats-on/.

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