The Hornsby Musical Society’s production of Grease lights up the Pioneer Theatre with infectious energy, impressive talent, and a wonderfully intimate atmosphere. While the Pioneer Theatre may not be a large venue, this actually works to the show’s advantage — the smaller space draws the audience closer into Rydell High’s world, making every laugh, wink, and dance move feel that much more immediate and engaging.
The cast bursts with enthusiasm from start to finish, and the choreography is a real highlight, especially in the big ensemble numbers. The high school dance scene is a standout, brimming with dynamic movement and fun character moments, while “Greased Lightning” roars to life with punchy, slick choreography that had the audience cheering.
Of particular note is Caitlin Parr as Sandy, who not only embodies the character’s sweetness and inner strength but also delivers some truly impressive vocal performances — her rendition of “Hopelessly Devoted to You” was a clear emotional high point, capturing both the vulnerability and power of the song.
Sarah Paull (Jan) and Zach Godsmark (Roger) deserve special mention for their utterly charming and funny duet in “Mooning.” Their playful chemistry brought warmth and laughter, and they fully leaned into the quirky, lovable sides of their characters. Meanwhile, Maddie Seddon turns up the heat as Rizzo, delivering a fiery, emotionally layered performance that grabs your attention every time she’s on stage. Her command of the role adds a sharp edge to the show’s emotional landscape.
Overall, the Hornsby Musical Society’s Grease is a lively, well-executed production that draws the audience in and leaves them smiling. It’s a fantastic local theatre experience packed with talent, heart, and toe-tapping fun.
Grease will be playing at the Pioneer Theatre in Castle Hill from Friday, May 9, 2025, to Sunday, May 18, 2025.
I entered the enchanting “Under The Sea” world to review The Little Mermaid by PACA Productions at The Concourse Chatswood and “Darling it’s better” than I could have hoped for “Take it from me!!” 🎶
The theatre was almost full for opening night and the audience was pumped to see this classic childhood nostalgic show. It was one of the most interactive and responsive audiences I have witnessed in some time which is a credit to the marvellous production PACA have produced.
I was so excited to discover the live orchestra was warming up when I walked into the theatre early. A live orchestra always elevates a show in my eyes and they delivered a fabulous performance bringing authenticity to this well known wonderful musical score.
It was pleasant to read in the director’s notes the incredible effort they had gone into utilising as many recycled items as possible for the staging in their commitment to sustainability. The staging and props were impressive and cleverly designed to create illusions for each scene. I was particularly impressed with the ‘ship at sea’ set and Ursula’s lair.
They also utilised projected images to create three-dimensional depth, which was especially effective for the ocean and inside the castle. The fly lines were put to fantastic use in creating effective multi-dimensions for the sea depth and a great visual ‘wow factor.’ The lighting techniques were also spectacular in creating green seaweed, effective lightning strikes, and the majestic illusion of sunshine.
Costumes were authentic to the Disney characters and imaginative. I had previously wondered how they would portray the characters of crabs, birds and fish and I loved their creative interpretation for bringing these characters to life.
If I had to pick three favourite music numbers- I couldn’t. I loved them all! My top favourites would be Sebastian’s “Under The Sea” with its full of life music and dance, Ursula’s “Poor Unfortunate Souls” with Jordan Berry’s powerhouse stellar vocals and then there was “Kiss The Girl” with absolutely beautiful choreography, lighting and staging. But I think perhaps my favourite (very hard decision) has to be “Positoovity” by the incredible tap dancing Scuttle (Alexander Billet) and the tap dancing ensemble. This was the opening song in the second act and the choreography and skill of all these dancers was sensational. The way Alexander Billet animated Scuttle the seagull was truly remarkable.
Faith Sherwood played Ariel as a true Disney princess. Her unwavering beautiful Disney smile and wonderful sweet vocals gave a commendable rendition. Her co-star Cameron Mayhew who played Prince Eric also gave a fantastic performance with a natural at ease flair on stage.
Andrew Read as Sebastian brought the house down. Sebastian gave plenty of comedic light and a charismatic performance and was absolutely adored by the audience.
Ursula (one of my favourite characters) was sensational. Jordan Berry’s vocals and acting are truly professional and I will definitely be looking out for her in future productions.
Jemima as Flounder blew me away with her superb vocals as did Simon Buchner who played King Triton. He has a most inviting smooth rich tone and great resonance.
Although not technically a lead role, Chef Louis, played by Mercurius Yousif, definitely deserves a special mention. He absolutely brought the house down with outstanding acclaim for his comedic scene. He has a wonderful stage presence and personality accompanied by fabulous vocals and I hope to see more of him.
The ensemble was brilliant! Their dancing and vocal harmonies tied the show together and illuminated it to greater heights. Their steadfast enthusiasm and energy throughout every scene was commendable.
My only criticism of the production would be it’s not playing long enough for me to watch it again. Nine days simply isn’t long enough for all the creative talent and obvious hard work that has gone into this wonderful production. I admit it is honestly up there with my very favourite musicals and I would love to see it again! Do yourself a favour and if there’s any tickets left, go and have a fabulous night out watching some outstanding talent.
When I first sat down in the Hayes Theatre, watching the performers playfully improvise to keep us entertained while a technical problem delayed the start, I really wasn’t sure what to expect.
The stage was covered with Persian rugs and dressed in various antique furniture, cameras, and lamps. I knew there would be music. I knew there would be a blackout sequence (I read the program warnings), and I knew there would be no interval. But even when it was all over, and the audience leapt out of their seats for a standing ovation, I still wasn’t quite sure what I’d just experienced.
The best way to describe Ghost Quartet might be as a haunting, quirky, and inventive musical dreamscape. Directed by Brandon Pape, Antipodes Theatre’s production of Dave Malloy’s Ghost Quartet is like a fusion of The Twilight Zone and One Thousand and One Nights.
I must admit, I found the plot a little hard to follow initially, but that didn’t diminish my enjoyment. It involved sisters, an astronomer, the stories we tell each other, and the ghost of Thelonious Monk. Ultimately, I decided to simply let go and immerse myself in the musical kaleidoscope. By the end of the production, the themes of ghosts, memory, and the passing down of stories across generations were conveyed in a surprising, effective, and powerful way.
The lighting design by Sidney Younger was beautiful and haunting, while the sound design by Evan Drill was outstanding. Antipodes’ actual ‘Ghost Quartet,’ led by musical director David Butler, constantly surprised me with their range, talent, and humour. They were all unique individuals and yet perfectly harmonious, interacting well with the audience in a way that kept the whole theatre engaged.
Hany Lee, Willow Sizer, David Butler, and Cameron Bajraktarevic-Hayward are all incredibly talented actor-musicians, each covering various musical styles and instruments while delivering strong individual and collective performances. There is one fifteen-minute sequence where you’ll find yourself wondering, long after the show, how they could keep changing styles and instruments so flawlessly.
Skipping an interval was a wise choice, as pausing the rollercoaster of this production would disrupt the show’s momentum and wake us all up from a musical trance. Like waking from a dream, returning to the same place is impossible once the spell is broken. It didn’t seem to be a problem. Despite the delayed start and extra pre-show drinks, I didn’t notice anyone leaving to miss any part of the show. This is a show I would wholeheartedly recommend experiencing—perhaps more than once.
Ghost Quartet by the Antipodes Theatre Co. is playing at the Hayes Theatre in Potts Point, Sydney, until the 1st of February 2025. To book tickets to Ghost Quartet, please visit https://hayestheatre.com.au/event/ghost-quartet/
Urinetown is undeniably a twenty-first-century musical with its humorously cynical take on the social effects of late-stage capitalism. Hornsby Musical Society has done a fantastic job taking on the show, which first premiered in New York twenty-three years ago. Now, more than two decades later, Urinetown’s themes around bureaucratic corruption, environmental destruction, corporate greed, and economic inequality have (sadly) become more relevant than ever before.
Act One opens with leather coat-wearing police Officer Lockstock speaking directly to the audience. It becomes clear quickly with this breaking of the fourth wall that Urinetown is unlike most other musicals. We are then introduced to the poor denizens of the unnamed town who, because of corporate-induced water shortages, are forced to pay to urinate. They queue up outside a toilet block with the title Public Amenity #9. Employed to man this particular amenity, Penelope Pennywise, an initially unsympathetic character, shows no mercy to those townspeople who do not have the requisite fee to pee. Her assistant, Bobby Strong, the story’s everyman, is appalled when his ageing father is sent off to the feared Urinetown after relieving himself in the street.
At the same time, a young woman named Hope Cladwell is starting her first day of work at UGC or Urine Good Company, the corporation her father is the CEO of. Hope is idealistic and naive, not realising that the privileged life she has led is far from the reality for most of the deprived citizens of the town that her greedy father’s company controls. In the town square, Hope and Bobby fortuitously meet. An instant attraction is borne out in the duet they share, ‘Follow Your Heart’. Bobby will soon be catalysed into sedition when UGC announces a fee hike for their public amenities. He rebels against Pennywise by opening the doors to Public Amenity #9, thus beginning a revolution. It is the outcome of this rebellion that occupies the action of the second half of the musical.
Samuel Byers is excellent as Officer Lockstock, along with his bumbling sidekick Officer Barrel, played by David Emerson. In a costume reminiscent of wartime worker Rosie the Riveter, Jordan Berry gives a powerful performance as Pennywise. Kate Addison’s turn as Hope, is a highlight of the whole musical; her sweet but powerful voice makes numbers such as ‘Follow Your Heart’, and the gospel inspired ‘I See A River’ resonate with the audience. Nick Hiebl plays Bobby Strong well as the underdog we root for, although, at times, his singing wavers. The ensemble singers are particularly amazing during their rendition of ‘Run, Freedom, Run!’ in Act 2.
Given its postmodern flavour, there are plenty of homages paid to other musicals throughout Urinetown. Choreographer Lauren Oxenham is to be commended for the excellent dance sequences that evoke West Side Story. A dystopian Mad Max theme is evident in the costume design for the clothes worn by the poorer characters. Production designer Jack Goggin has done a fantastic job in creating an industrial, steampunk set that perfectly suits the story’s themes. Lastly, director Emma Young and musical director David Lang must be highly congratulated for producing such an outstanding production. They are a testament to the ongoing strength of the Hornsby Musical Society and a sign that amateur musical theatre in Sydney is in good hands.
Urinetown: The Musical runs from 1-10th Nov at the Pioneer Theatre, but only has four sessions remaining this weekend.
