Still Savouring: Castle Hill Players’ Tender and Sweet Production of ‘The Last Five Years’

The Last Five Years

The Last Five Years Rating

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4

‘The Last Five Years’ is an ambitious show to take on; a Jason Robert Brown score is no tame beast, and the intimate vulnerability required for this particular show to really fly asks a lot of its two actors. Castle Hill Players’ production, which runs from the 25th of July to August 16th, and has the pain and humour, the nuance and stillness, that this book and score deserve.

Director Julian Floriano has done a really wonderful job. The staging has to hold together story threads that are moving in opposite directions, and actors who barely have any points of physical interaction; Floriano has created spaces for the songs and actors to shine. Storytelling through character-building is the base required for this show to succeed and it is done excellently here.

Julian Badman of Your Place Architecture has designed a really beautiful and effective set; one of my personal favourites I’ve seen in a theatre recently. Gentle ripples of semi-sheer fabric hang in layered walls across the stage. At different times you can see characters or the band through them, or they are raised to reveal a scene in a new place. Cathy and Jamie (the two characters) move around each other through this mist, the curtains literally lifting to reveal moments of insight.

 

 

This show has a rotating cast, and the dates each will be performing is available at the booking link. Opening night began with Cassidy Donovan’s performance of ‘Still Hurting’ which is perhaps the song with the highest profile. Donovan is captivating from the start, and steps to the challenge of such a famous and devastating number with gentle ease. Her comedic moments are some of the highlights, and her energy is excellent.

Levi Burrows’ Jamie is goofy and ambitious, and he nails the moments where Jamie has an open flank. For much of the second act to resonate, Jamie needs to be someone the audience connects to genuinely, and Burrows catches the youthful joy and genuine love to do this.

David Catterall leads the small and mighty band excellently, and the sound mix meant the strings, played by Jade Jacobs, Heather Hinrichs and Ian Macourt, can harmonise evenly and beautifully Chris Everest’s lovely guitar playing. Catterall plays Jason Robert Brown’s intricate piano parts with a delicate touch, and Dominic Yeap-Holliday holds down the rhythm section (on bass) with aplomb. Bernard Teuben’s sound design across the entirety of this trip to the theatre was excellent; I hope the lobby playlist was curated specifically for this because it fit perfectly.

This is the only full-fledged musical on the books for the Castle Hill Players this year, and is definitely worth seeing. If you are not a fan of a the big song and dance of traditional musical theatre, this really good production of this award winning show offers a different way into the art-form. This is a very human story told with both humour and compassion by a skilled cast and band.

To book tickets to The Last Five Years, please visit https://paviliontheatre.org.au/the-last-five-years/.

Photographer: Chris Lundie

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Chicago: Tall & Short Theatre Co

Chicago

Chicago Rating

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4

This production of Chicago by Tall and Short Theatre Co delivers the show’s signature sharp cynicism with an especially bold edge, amplified by a small, versatile cast playing multiple roles as well as minimal costumes and set. These choices not only showcases the actors’ range but also deepens the show’s inherent themes of duplicity and moral ambiguity, underscoring the story’s cynical view of fame, justice, and human nature.

Michael Astill’s portrayal of Billy Flynn is a highlight, delightfully sleazy and utterly captivating. His numbers sparkle, particularly the brilliantly coordinated and high-energy “We Both Reached for the Gun” with Katie Wallis as Roxie. Astill’s commanding presence during the trial scene truly owns the stage, driving the drama with a magnetic intensity that resonated strongly with the audience.

Katie Vials shines with her singing, especially in “Roxie” and “Funny Honey,” bringing depth and nuance to her roles. Amelia Smith’s quiet tragedy as Hunyak adds a poignant contrast, while Willow Twine’s bold and wild energy as Velma injects thrilling dynamism into the dance sequences.

Elizabeth Ellis gives a memorable performance as Matron Mama Morton, skillfully capturing the character’s dual nature. On one hand, Morton is as calculating and transactional as Billy Flynn. But Ellis also brings genuine warmth to her interactions with Velma and, most touchingly, with Hunyak—moments that suggest real affection and loyalty beneath the surface. It’s the duet Class with Velma that truly reveals the character’s vulnerability.

Nathaniel Lawson brings a gentle sincerity to the role of Amos Hart, providing a much-needed emotional anchor amidst the show’s swirling satire. Apparently playing against type, Lawson’s portrayal is refreshingly understated, allowing Amos’s quiet dignity and hurt to shine through. His rendition of Mister Cellophane is performed with real heart — not played for laughs, but as a sincere, aching moment of loneliness and invisibility.

The choreography is exceptional — not only skillful and vibrant but notably inclusive, featuring Liam Liff performing in a wheelchair, marking a powerful and inspiring first for this production. The ensemble’s tight coordination and spirited movement bring the show’s biting satire to life.

Overall, Tall and Short Theatre Co’s Chicago is a compelling, razor-sharp musical experience that balances cynicism and spectacle, buoyed by standout performances and inventive staging.

To book tickets to Chicago, please visit https://www.tstheatreco.com/productions/.

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Grease: Hornsby Musical Society

Grease

Grease Rating

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8

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.

With just one weekend remaining, book your tickets for Grease by visiting https://hornsbymusicalsociety.com.au/grease-2025/.

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The Little Mermaid: Out Of Your World

The Little Mermaid

The Little Mermaid Rating

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3

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.

To book tickets to The Little Mermaid , please visit https://paca.sydney/the-little-mermaid/.

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