Musical - Whats The Show

MUSE at The Fuse – ‘Putting It Together’ A Sondheim Revue

06/06/2026 Linda Lokhee🏆🥇🦉

Putting It Together by Stephen Sondheim Rating

★★★★★

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Stephen Sondheim, a legendary composer and lyricist, is well known for musicals such as Into the Woods, Company, Sweeney Todd, Merrily We Roll Along and A Little Night Music. These are some musicals amongst many that have captured the hearts of people worldwide. After the immensely successful revue Side by Side which had been performing since 1976, Sondheim and co-creator Julia McKenzie’s musical Putting It Together premiered in London in 1992. They chose songs from popular musicals that Sondheim wrote after 1976, to showcase his acclaimed career.

After the lights dim, we hear what we assume is a pre-recorded voice stating the usual requests before live event plays – that the use of cameras is strictly prohibited, etc. As the warnings continue, the announcer continues, “Please do not crinkle your programs incessantly. Please do not fidget uncontrollably in your seats” and “Don’t go, “Oh!” Whenever there’s a song you know“ and suddenly we see a cast member appear, walking down the centre aisle holding a microphone and looking polished. They continue to give the audience instructions. We are all delighted and have a laugh as we realise that the instructions are part of the opening song of the play, called “Invocations and Instructions” from The Frogs. Man 3, brilliantly understatedly played by Eli Reilly, assumes the role of the narrator, leading the story to oversee and influence the other characters throughout the musical.

The narrative of Putting it Together, directed by Gabriel Way Stamatellis, begins in the 90’s, with five friends having a party in one of the couple’s lavish condominiums. The cast, champagne in hand, barrels out “Rich and Happy #1” in a joy filled celebration of laughter. “All our dreams coming true.. this must be what happy means.. skies are beaming, future bright, prospects gleaming” was presented with the energy that showcased how much the cast loved being onstage together. This was a strong song, with the lyrics communicating their optimism.

Despite the initial reach for everlasting happiness, we start to see the underlying foundations of the couple’s marriage to be shaky, as hints of adulterous flirtation are made clear between the husband, played by Hudson Perry and another guest, Woman 2, performed by Nicola Awad. I really enjoyed seeing the wife, Woman 1, played by Jillian Keith shoot murderous glances at her friend Woman 2; her eyes and body language were perfected to show her hostile emotion. It would be easy to imagine that Keith created the phrase, “if looks could kill”. Her voice was sensational with a huge range to cater for the low to high notes in the songs Woman 2 had to sing. Keith gave a standout performance in all of her songs, but most of all during the song “Getting Married Today” (from Company) which required a rapid-fire fast pace of lyrics, and Keith delivered them with the sheer panic and terror of a reluctant bride-to-be.

Man 2, portrayed by Owen Roubeni, brought the sweet simplicity of longing for love into the group. Roubini’s voice was grounded in a wonderfully mellow tone and conveyed a calmness and earnestness in every song that he sang. He portrayed his character as the good friend everyone should have.

The audience never learns these characters’ names, and they are referred to in the program as Man 1, Man 2, Man 3, Girl 1 and Girl 2. It seems a strategic move to not name his characters, as Sondheim does not play favourites with his characters. All have an equal role in telling stories about the stages of relationships, from flirtations through to relationship highs and then the lows.

Zach Moses and Jonathan Zhang, co-musical directors, brought the freshness of the songs to life and with the band, successfully condensed the sounds of a traditional orchestra into a small person band without losing the grandeur. The band, Jonothan Zhang (keys), Emil Vinad (percussion), Yinfan Lin (Keys) and Rachel Glendenning (bass) were led by conductor Zhang and were situated to the right of the audience, giving the cast a clear accompaniment.

MUSE, the Sydney University Musical Ensemble, provided an entertaining and comedic night of music dedicated to Stephen Sondheim’s fans. Even if you were not familiar with any of Sondheim’s music, you would still enjoy this musical. It is a wonderful thing to see and support these Uni students in the Creative Arts field, and it was easy to see how much they enjoyed putting this musical on, altogether!

Putting It Together is showing at The Factory in the Fusebox. 105 Victoria Rd, Marrickville.
Season: June 3 – June 6 2026
Tickets:
www.factorytheatre.com.au/event/putting-it-together-by-stephen-sondheim

To book tickets to Putting It Together by Stephen Sondheim, please visit https://www.factorytheatre.com.au/event/putting-it-together-by-stephen-sondheim/.

Photographer: jack_k.photography

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A Pride-full Celebration Of Unprecedented Talent! Happy Pride!

03/06/202602/06/2026 Chantal Harrison Writer🥈

Homo Grown Rating

★★★★★

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Imagine crossing the rainbow street and walking into Qtopia on the first day of Pride month, only to be greeted by the one and only Kala Gare’s and Kala’s incredibly beautiful, smiling face! Well, I don’t have to imagine, because that’s how this year’s Homo Grown kicked off for me.

Home Grown Australia, are pioneers championing new theatre and musical theatre works in Australia. What started as a backyard pub meeting, now has the backing of MTIA and the Australian Government. Founded by Nick Hedger and Ben Nicholson, Home Grown have nurtured beloved Australian new works such as My Brilliant Career, FANGIRLS and A Trans Woman On The Internet, Crying.

Homo Grown is a Pride-full celebration of queer Aussie new works to be produced, to come and in progress. The queer celebration in the room was electric, not least of all because the multi-talented Kala Gare was guiding the ship.

Kala kicked us off with an original “Hello” that speaks to “Letting freedom flow”, which was a great set up for the night. Kala’s skillful piano along with an incredible voice and sharp, relatable lyrics had us strapped in for “a wild ride, to say the least.”

Next up was Phoebe Rodger with the title song from upcoming “Phoebs, You’re A Lesbian” on June 10th – 12th at QTopia. Described as “a letter to my younger self”, this song was earnest, clever, cute, hilarious and relatable. Much like Phoebe. The second song was from a “yet to come” musical, it took us on a humorous journey of Phoebe’s ideal career discovery through a career’s test.

Cassie Hamilton and Nic Prior then took to the stage for a snippet from Afterglow by Sheanna Parker Russon & Lillian M. Hearne which will be showing at the Belvoir and is described as a “Barbershop rom-com”. Lillian introduced the piece and began to play, while Nic tore us into their deep, tender and sombre beginning. Cassie joined in and the duet echoed the lyrics “With you I fit”. Nic’s tender fragility of emotion is in stark contrast to the power of their voice, while Cassie’s sombre moments are only magnified by the reality of her powerhouse vocals. Cassie took to a solo called “Normal Michael” in which we got more of that voice, and what I can only describe as four seasons in one face, as we join the emotional journey of the character Cassie is embodying.

Matt Hawke then took us into their song from upcoming “Beautiful Lies” on June 11th-14th at the Substation Qtopia. Described as one of the lies unpacked in therapy, we deep dive into Matt’s 20 year old identity exploration wrapped in self-deprecating humour. None of us saw the sharp turn from this jaunty piano-pleaser into an acoustic guitar heartwrenching homage to Matt’s deceased dog. It left the majority of the room in tears, and awe at its beauty.

Robbie Alexander and Alex Gonzales had to wipe away tears and reset for their performance from “Twenty-Something”. Alex played the character, Charlie’s Mum, deadpanning that “I’m wearing a cardigan so you know I’m a mum.” and meeting a lot of laughter. Alex performed “Long Story Short” with power, emotion and a lot of talent. Robbie performed “Delightfully Gay”, showing us the tug of war between Angel and devil on the shoulder and reinforcing the lyrics “There’s no such thing as ‘a little bit much’!”

Lincoln Elliot joined forces with Kala, Natalie Abbott, Gracie Rowland, Nead Cristaudo, Alex Gonzales, and friends for a snippet from the “yet to be announced” emo-rock heist. The performance of “Creativity Is An Island showcased exceptional musicianship and a palpable musical love and collaboration between the group.

Kurt Kansley and Oli Lidert were missing in action, enjoying their time in Moulin Rouge, but Katie Staddon did them proud and then some with “More Than Words On A Page”. Katie’s vocal range is beyond comprehension, the melodies sublime. The swift shift from deep soul to angelic was out of this world.

Meg Rob took us on a solemn and sincere ride with “Step Into Infinity”, showcasing an ability to embody the characteristics of an introvert grappling with personal trauma, while knocking our socks of with some big belts. Those who saw Meg in Jagged Little Pill will be familiar with this ability to take an audience on a wonderful and surprising ride. Catch Meg’s show “Make It Queer” 25th-26th June at Loading Dock, Qtopia.

We finished with the cast and creatives from Nails 25th-27th June at The Eternity Playhouse. Created by Sophie Davis and Laura McDonald, and composer Harry Collins. This netball based comedic musical has a lot of balls (see what I did there?). Nead Cristaudo had us captivated as the coach, mixing brilliant comedic timing with powerful vocals.

Then the large ensemble cast and creatives from Nails finished us off on a high with Natalie’s gorgeous voice and some epic harmonies being the highlights of this final piece. It was an incredible finish to a night of unprecedented talents and not-to-be-missed new works! Make sure you catch these and as many Pridefest shows as you can this month. More than ever, we need to join together and support each other. Happy Pride!

To book tickets to Homo Grown, please visit https://tickets.qtopiasydney.com.au/Events/Homo-Grown.

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42nd Street

31/05/202631/05/2026 Debra Campbell🥇🦉

42nd Street Rating

★★★★★

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Shuffle off to Nunawading in Melbourne to see 42nd Street PLAYING NOW at The Round. By far my favourite luxury theatre in the suburbs with one of my favourite community theatre companies, you will be toe tapping from start to finish.

This is a tap dancing show so it’s definitely my kind of show and if you’ve ever tapped, wanted to tap or just love the golden age of tapping on Broadway, this is also your show!

Produced by Babirra Music Theatre I already know it’s going to be stupendous not only because their productions are always of the highest quality, but also because they are celebrating their 70th year this year and that deserves very special shows indeed. Note here they do Disney’s ‘Frozen’ The Broadway Musical next. You can receive a discount for booking at the same time this show of ‘42nd Street’ (on now ‘til 7 June) AND ‘Frozen’ (on October 1-11).

Ticket link: https://www.theround.com.au/42ndStreet

The curtains open and a silly but clever voice reminder tells us to turn our phones off, that’s the first laugh and it’s followed by many more.

This is an old-fashioned musical set in 1933 but it never gets old. With ‘42nd STREET’ up in lights on the backdrop we’re “doing a show” with a cast said to be the “best in town”, and they are.

Chelsea Hyde takes the lead as naïve ‘Peggy Sawyer’, shy and cute with advanced tap skills and all-round talent. No wonder she got discovered for this role similar to her character seeking stardom.

Killer vocals are astonishing from the incredible Nicole Kapiniaris-Anson suitably playing the accomplished ‘Dorothy Brock’.

Richard Thomas as ‘Julian Marsh’ is exceptional in his acting and tops every sung note.

‘Billy Lawlor’ is played by Oliver Pinkett and I really felt he was a constant standout. When I see in the program he has dance trained for over 15 years, that’s no surprise.

Comical moments where Dorothy jetés off stage is so funny after she’s purposely portrayed a lack in dance ability, the multiple kisses between Peggy and Julian are well done in fun and ‘Maggie Jones’ (played by Suzie Ryrie) convincing ‘Abner Dillon’ (played by Tim Maloney) to let Dorothy go, is just one part when these two add their own touch of humour. ‘Bert Barry’ (played by Jeremy Russo) was another and the favourite character of my husband who continued to laugh at basically anything he did or said.

I loved the scene using light behind a giant white curtain creating shadows big and small and I also loved the lunch with Maggie and Peggy. Five stars here to Jordan French, Hayley Wootten, Annabelle Windsor and Madeleine Magetti for making this extra engaging with great interaction on stage.

The rest of the girls tapping their hearts out and stepping up in ‘bit’ parts performed every tiny morsel of their role with the biggest personalities and SMILES! Abby James, Alivia Stewart, Ella Moeller, Jade Phillips, Chelsea Fensom, Nina Goeghegan, Holly Bromley, Sheona Gregg and Erin Jankelowitz, were all an absolute JOY to watch every second. The umbrella dancers were gorgeous, and particularly on the fab costuming I note those very unique giant flowers!

Rob Blowers, Joshua Houston, Bradley West, Sean Wharley, Simon Evans, Jack Moeller, Alex Anderson, Caleb Waterworth, Andrew Steen, James Kaiser, Jacob McKenna and Chris Anderson – all AMAZING!! So fantastic to see so many guys up there tapping on those steps (especially in the top hats) and being the extra dancers, singers, actors throughout, or as in Rob’s case expertly playing ‘Pat Denning’. Smaller roles are not lesser roles, they are the lifeblood beneath.

I imagine the excellent set construction took some effort with use of many different projected digital backdrops working so seamlessly that sometimes it was hard to see where the digital imagery started and the tangible set pieces began. Loved the massive dimes too, but the folding train was a showstopper!

Above all, you are going to hear extraordinary music by the live Orchestra and see some extraordinary dancing throughout the entirety of this show; certainly more tapping than you’ll see at anything else.

Yes, if you love tap dancing you simply can’t miss 42nd Street; if you love musicals you simply can’t miss 42nd Street; and finally, if you love supporting local community theatre whatever it be, you simply cannot miss 42nd Street.

Do yourself a favour, grab your old time musical loving friends and make it the best night (or matinee) out. I thank the wonderful Babirra Music Theatre team for giving me that chance today.

President – Jaison Hoernel
Director – Alan Burrows
Musical Director – Marty Macaulay
Choreographer – Susan Lewis
Costume Designer – Ely Tapp
Set Designer – Chris Anderson
Production Manager – Jo Brincat
Production and Props – Steve Cavell
Stage Manager – Arlene Miller
Lighting Designer – Deryk Hartwick
Sound Designer – Marcello Lo Ricco

Orchestra – Shirley White, Brad Slater, James Bradley, Catherine Buxton, Michelle Brown, Joel Dullard, Matthew Holzinger, Jenter Zilm, Sam Fitzgerald, Sean Lambert, Sienna Couzens, Jonty Smith, Ryan Parks, Bryn Bowen, Darryl Barron, Cody Legett, Sean McBride.

To find out more see: https://babirra.org.au/

To book tickets to 42nd Street, please visit https://www.theround.com.au/42ndStreet.

Photographer: Matthew Chen

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A Whimsical, Joyful, Surprisingly Current Night Of Musical Theatre

25/05/202624/05/2026 Chantal Harrison Writer🥈

Cinderella Rating

★★★★★

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The magic of Hills Musical Theatre Company’s Cinderella began as our complimentary programme arrived with a gift voucher for the canteen (and if that isn’t community theatre done right, I don’t know what is).

The set up is cabaret style. You can bring your own snacks and/or purchase from the canteen. We were then shown to our table. I loved the idea of this cabaret style, but in execution it’s a bit tricky. We were seated with others, which is a lovely way to promote the community, but it means you need to be aware of each other and visibility. I recommend you get there early enough to negotiate comfort. I had to move away from the table to properly enjoy act 2.

That small logistical wrinkle aside, this show was fantastic.

The stage itself announces its ambitions immediately. Set design by Hannah Aouchan and Keith Macbeth glitters with fairy-tale intention, and as the ensemble assembles to open the show, lighting design by Max Tibbles and Jeremy Cardew at Latarka bathes the whole scene in something genuinely enchanted. Musical director Gemma Rolph’s orchestra; live, warm, and present, does what only a live pit can do.

Into all of this steps Claire Polczynski as Ella, and she has the voice of an angel. Polczynski grounds this Cinderella in something more than sweetness; there’s a steeliness beneath the warmth, a Cinderella who knows her own worth even when the world around her doesn’t. It sets up the show’s quietly progressive take on the classic.

This version leans into political satire that lands with a particular sting of relevance; a royal wedding deployed to distract from poverty and stifle revolution, an advisor with his own nefarious agenda, a prince naive to the divide between haves and have-nots. Deniz Dogan plays Prince Topher with a commanding presence that makes his ignorance sympathetic rather than infuriating, and Sebastian Barons is a convincing, credible puppet-master pulling the strings behind him. Theo Cuelho’s cameos as Lord Pinkleton are enjoyable, and Lachlan Hopkins brings charisma and genuine earnestness to Jean-Michel, a revolutionary whose eye only strays from the cause long enough to find Stepsister Gabrielle’s. The show’s comedic MVP, however, is Josephine Pinto as Crazy Marie; and then, as the Fairy Godmother, Pinto delivers a solo to rival Disney.

Kortana Blissett as the Stepmother deserves her own paragraph. Impressively terrifying and clearly relishing every moment, Blissett finds the comedy in the menace without ever letting you feel entirely safe. Blissett and Annie Beardsley, playing Charlotte (the other Stepsister) are a fun comedic duo.

And the costuming, by Angela East and Emma Stanton, that surrounds all of this is extraordinary. The magical transformation sequences are achieved with such clever ingenuity that they serve as a reminder that community theatre, with the right hands on deck, can eclipse a big budget entirely.

Emily Taylor’s choreography leans into the classic musical theatre register while giving the ensemble room to be genuinely joyful together. This is a large cast spanning a wide age range, and every performer seems to know exactly why they’re there. The show’s youngest scene-stealer, Mackenzie Scott, is all kinds of adorable and already very much at home on the stage (watch this space).

In the interval, the company president spoke about what Hills Musical Theatre Company means to its community, and it wasn’t hard to believe. The values the show celebrates; kindness, generosity, charity, are clearly embodied by the powers that be. That spirit is woven into every corner of the evening, from the canteen voucher to the curtain call.

Cinderella is a whimsical, joyful, surprisingly current night of musical theatre. We’d have happily risked turning into a pumpkin if it had kept going.

To book tickets to Cinderella, please visit https://www.hillsmtc.com/.

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