A Slice Of Community

Community Garden

Community Garden Rating

★★★★★

Click if you liked this article

10

Community Garden is a play with no intermission about a man named Ralph, a nervous and new volunteer at Uptown City Gardens. Throughout the show he is slowly drawn to the strangers in the community, who all offer different stories and upbringings, but who all come together in one garden. This show is written by Justin Borak and directed by Cade Smith. August 7th was the world wide premiere for the Australian version. Justin Borak and Cade Smith worked hand-in-hand to rework the original story to fit Western Australia.

When I walked into Roxy Lane theatre, the foyer was transformed into a small Italian restaurant, representing Gigi’s Italian Family Restaurant, the Italian restaurant in the play. Pizzas were available to order so the audience could come into the restaurant at the end of the show and enjoy their meal, a truly creative way to immerse the audience into the story, even after the show had ended. The art of the set is intricate and realistic while offering lots to look at and the props (including a full-sized cut out of one of the characters) were true works of art that made the audience laugh. The work that went into the set and props, made by Kirsten Halford-Bailey, Nellie Pease, Sophie Harwood, and Cade Smith, hit the mark and it is clear just how much time and effort went into the art. I appreciated the play’s use of technology as they chose to use a screen off to the side of the stage to show the other end of a Zoom call that a character is making. Not many sound effects were used and there was no music, but the performance itself makes up for it. The lighting, designed by Katherine Robertson, was simple, only switching slightly as the tones changed. The costumes, designed by Kirsten Halford-Bailey and the cast, are modest, not drawing too much attention, but they fit the character’s personalities well. Bella, wonderfully played by Zarah D’Costa, is covered in flour to display her hard work at the pizzeria she works at.

 

Ralph, played by Harry West, is naturally funny and would remind you of someone you know, a friend. His acting is real and friendly, allowing the audience to feel at ease. Elle Fisher plays both Donna and April, naturally owning the stage. She provides comic relief and fills the role of characters that show reality and acceptance. When watching Rachel Calder play Casey, her conversations and actions felt natural, like the audience could be part of the conversation. This show offers even more to relate to as there is LGBTQ+ representation in multiple characters. Several times throughout the performance, audience members fully laughed at the dialogue. The comedy gives the audience a joyous moment in such an intricate production.

This is a heartfelt play that offers many moments that people of all ages can relate to. Community Garden is playing at Roxy Lane Theatre from August 14th, 15th, 16th, 21st, 22nd, and 23rd, and I, for one, plan on visiting my local community garden soon to see what might be in store.

To book tickets to Community Garden, please visit https://www.taztix.com.au/event/roxylanetheatre/.

Spread the word on your favourite platform!

Unicorn Girl

Unicorn Girl

Unicorn Girl Rating

★★★★★

Click if you liked this article

3

Madelaine Nunn’s Unicorn Girl is a quirky and heartfelt coming-of-age story exploring identity, friendship and the responsibilities that come with leadership. Under the direction of Rhiannon Thomas, John Wollaston Anglican Community School’s production embraced the humour and heart of the script, delivering an enjoyable evening of student theatre.

In the interests of transparency, I came to this production with a particularly close understanding of the material, having recently directed Unicorn Girl myself at Santa Maria College. This was, in fact, part of my interest in seeing another school’s interpretation of the work. Having worked intimately with the script, I also appreciate that Unicorn Girl is not necessarily an easy play to stage. As a relatively new ensemble work with a large cast and limited opportunities for traditional set, it asks a great deal of both director and performers—although finding inventive solutions to those limitations can also be part of the fun.

Leading the cast as Sam, Alexis Atkins gave a warm and engaging performance, bringing an endearing quality to the title character. Her strong vocal projection ensured Sam’s journey remained easy to follow.

Among the supporting cast, Victoria Moyo delivered a confident and energetic performance. Ash Ulerick also made a memorable impression as Lee, with thoughtful vocal choices—including a subtle accent—that gave the character an appropriately slimy, slightly gangster-like quality.

Lila De Sena impressed with her versatility across multiple roles, particularly as Principal Higgins and one of the office ladies. She brought a lovely, bright energy to the stage, complemented by clear diction and strong vocal projection.

 

One of the production’s greatest strengths was its embrace of theatricality. The inclusion of original songs, composed by Sophie Albury, was a fun and unique addition, creating opportunities to bring the ensemble together and giving this interpretation its own identity. Creative staging choices also stood out, particularly the imaginative use of ensemble members’ bodies as pieces of the set—at one point, quite literally becoming a table. These moments added visual interest while keeping the larger ensemble actively involved in the storytelling. The decision to cast Archie Richards as Mum was another playful choice that suited the production’s heightened comic style and demonstrated a willingness to have fun with the material.

There were, however, moments where confidence wavered, with some uncertainty around lines occasionally interrupting the flow. More significantly, the overall energy and momentum softened through the middle and particularly towards the latter stages of the production.

Having recently worked with the script myself, I think some acknowledgement must be given to the material here. Unicorn Girl becomes quite dialogue-heavy and, in my view, somewhat overwritten towards its conclusion. There are sections that could benefit from substantial tightening, and sustaining energy through these passages presents a genuine challenge for both young actors and their director. Greater pace and confidence through these later scenes would nevertheless have helped maintain the momentum established earlier and strengthened the production’s final impact.

Despite these moments, the cast’s commitment was evident throughout. Unicorn Girl provides an accessible vehicle for a large school ensemble, giving young performers opportunities to explore comedy, character work, physical theatre and collaboration, and this production embraced those opportunities with enthusiasm.

School theatre is about far more than delivering a perfectly polished performance. It is about building confidence, developing creativity, taking risks and giving young people the opportunity to experience the joy of making theatre together. John Wollaston Anglican Community School’s Unicorn Girl embodied that spirit. The evident enjoyment of the cast, some inventive directorial choices and a strong sense of ensemble made for an entertaining evening. The cast and student technical crew should be commended for bringing this challenging and vibrant work to the stage!

To book tickets to Unicorn Girl, please visit https://www.trybooking.com/events/landing/1553471.

Spread the word on your favourite platform!

The Beast

The Beast

The Beast Rating

★★★★★

Click if you liked this article

5

The Beast ought to come with a warning, for several reasons. Most will find it confronting. Some will be triggered by the topics explored on stage. And if you’re a vegetarian, you will see blood-red.

Written by playwright, actor, musician and composer Eddie Perfect, The Beast gives some insight into his brilliance, albeit warped mind. The Garrick Theatre stage production succeeds in its interpretation by reflecting humanity at its worst, which director Lynne Devenish delivers with messy aplomb alongside stage manager Nikita Nankiville.

The show opens with a boat trip that no one should have taken, played out by Skipper (Greg Ross), Simon (Russell Fellows), Rob (Paul Cook) and Baird (Darcy Franz). A misguided tree change follows for Rob and wife Sue (Susan Meikle), who join married couple Simon and Gen (Clare Alason). They reunite in the country, and the saying “The road to hell is paved with good intentions” aptly speaks volumes about a society scrambling for meaning.

The finale culminates in a dinner party where every guest is culpable for the destruction of any remaining shred of morality. Their deplorable behaviour is immortalised in the gory nose-to-tail sequence, where Baird and his wife Marge (Katie Nowland) take centre stage as the moral compass of the group.

 

 

Cameo performances from Ben Vaughan-Sanders and Kieran Smith lightened the mood. However, the most surprising performance was delivered by the calf, played by puppeteer Astro Stewart, whose affinity for bovines is sympathetically delivered for all the animal lovers in the audience.

This is black comedy at its darkest as infidelity, racism and snobbery are some of the more palatable themes explored, alongside the heavy-hitting subjects of murder, cannibalism and paedophilia. In saying that, there were plenty of laughs to be had at the sheer ridiculousness of the self-imposed predicaments the characters find themselves in.

Script assistant Christine Offringa is to be commended alongside set designers and constructors Kel Camponovo and Andy Rahim, Joe Hoedermaker (sound and lighting), as well as operators Bella Melbin, Connor Barclay and Kelson McConnell.

I reviewed the show on opening night, which had been pushed back two days, and, if I’m being completely honest, I felt it could have benefited from more preparation to iron out those opening-night hiccups and unpolished sequences.

But as they say, the show must go on, especially when it comes to The Garrick Theatre’s jam-packed production schedule.

Show dates: August 1, 6, 7, 8, 13,14 & 15 at 7.30pm and August 2, 8 & 9 at 2pm.

To book tickets to The Beast, please visit https://www.taztix.com.au/event/garricktheatre/.

Spread the word on your favourite platform!

Captain Moonlite

Captain Moonlite

Captain Moonlite Rating

★★★★★

Click if you liked this article

Most Aussies are familiar with the legendary Ned Kelly but there’s another Irish born bushranger that perhaps few have ever heard of and that is Andrew George Scott, also known as Captain Moonlite.

After the show I had to look him up to check whether he was a real person or fictious and indeed, he was real whose bushranging adventures spanned from the 1860s to 1880.

The Melville Theatre Company brings his life to stage in the musical Captain Moonlite created by Jye Bryant. The musical follows Moonlite as a run of bad luck and circumstance leads him toward an unlikely gang of bushrangers. Rather than presenting the familiar colonial outlaw as a rough, swaggering folk hero, its central figure is educated, articulate and homosexual. As such, the show challenges the audience to look beyond the romanticised image of the Australian bushranger and consider the human being behind the legend.

The production is particularly effective in its attempt to move beyond the conventional bushranger myth, presenting Moonlite not simply as an outlaw, but as a complex man shaped by misfortune, identity, and circumstance.

 

 

One of the production’s strongest features is its live instrumental music. The Irish influence in the music brings a sense of authenticity to Scott’s background.

Presenting Moonlite’s life as a musical form however, does not always feel essential to the telling of his life. His story is already dramatic and compelling enough as a clergyman, a prisoner, an outsider, and ultimately a bushranger whose personal identity challenges many preconceived ideas about Australian colonial masculinity. There are moments when the song and dance interrupts rather than strengthens the force of that narrative. The attempt to present the show as comedy also felt unnecessary. The material has enough theatrical power to stand as a straight dramatic work without needing to be framed as a musical. The production is most successful when it focuses on Moonlite himself.

Nevertheless, the production team did a terrific job in presenting the show, with Jamie Lea in the lead role.

I was impressed with the production’s achievements of the seamless transition between locations, particularly from the confinement of the jail cell to the formality of the courtroom then to intimacy of the boarding lodge room. The shift from jail cell to courtroom becomes almost symbolic from isolation to spectacle.

Captain Moonlite is an ambitious reimaging of the Australian bushranger and portrayal of Andrew Geroge Scott.

To book tickets to Captain Moonlite, please visit https://melvilletheatrecompany.au/seasons-2026.

Photographer: Alan Gill

Spread the word on your favourite platform!

Subscribe to What's The Show

Reviews, show news and what is on, straight to your inbox.