Sydney Theatre

Beneath Its Bloody Surface Beats A Strangely Tender Heart

Monstrous

Monstrous Rating

★★★★★

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On Wednesday night I attended the world premiere of Monstrous at KXT on Broadway, and I can honestly say I’ve never seen anything quite like it.

This is only my second visit to KXT, but it’s quickly becoming one of my favourite Sydney venues. The traverse stage is such a gift for directors and designers, it transforms every seat into a front-row experience and immediately pulls you into the action. In a show like this, where horror, humour, and intimacy collide, that closeness is electrifying.

Monstrous is written and directed by Lu Bradshaw in collaboration with Zev Aviv and Byron Davis, with dramaturgical support from Kerith Manderson-Galvin and Alex Tutton. What they’ve created together is bold, clever, and utterly fearless, a hybrid of sitcom-style awkwardness and spooky horror spoof vibes. It’s the kind of show that makes you laugh nervously one moment and gasp the next.

John, the Director of Wellbeing and Inclusion at RISE Community Services, takes his job (and himself) very seriously. When Chris, a visiting IT technician flown in from Perth, lands in his office to fix the servers, John’s carefully curated sense of professional purpose begins to unravel. Their connection starts as a silly flirtation but quickly morphs into something strange and transformative. What begins as a workplace fling becomes an exploration of desire, control, and the monstrous side of self-discovery.

 

Monstrous
Monstrous
Monstrous

 

The show opens with an homage to the classic horror-film, with black-and-white credits and an eerie score that instantly sets the tone. From there, we’re pulled into John’s meticulously inclusive office space, and into his brittle need to prove he’s one of the “good guys.” The humour lands sharply; it’s the kind that makes you wince at the same time you’re laughing. When things tip over into the supernatural, the direction and design work in perfect sync to heighten the tension. Theodore Carroll and Anwyn Brook-Evans’ lighting takes on a creature-like life of its own, cleverly signalling the shift from awkward workplace comedy to full-blown horror.

Both Zev Aviv and Byron Davis are magnetic. Their performances balance the absurd and the intimate with total commitment, and the chemistry between them keeps the audience guessing right to the end.

It’s a quirky unpacking of power, control and parental responsibility, with a flipped lens and symbolism to soften some of the blows.

Monstrous is funny, daring, and just a little disgusting, in the best possible way. Beneath its bloody surface beats a strangely tender heart.

To book tickets to Monstrous, please visit https://www.kingsxtheatre.com/monstrous.

Photographer: Valerie Joy

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Bunyip Barons

Bunyip Barons

Bunyip Barons Rating

★★★★★

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19

Bunyip Barons, the first-ever original play from Upstage Productions, is a striking and evocative addition to Australia’s theatrical landscape. Set in Sydney in 1839, the play takes inspiration from the writings and illustrations of Louisa Anne Meredith, reimagining her early days in the colony as both observer and unwitting participant in a web of deceit, privilege, and moral decay. What begins as an artist’s gentle curiosity about life in the colony, quickly unravels into a haunting revelation of the darker truths underpinning colonial society.

The production transports audiences to the fictional Coy family’s grand estate, Evergreen House, in Elizabeth Bay — a glittering symbol of refinement and prosperity. The set design is nothing short of exquisite, conjuring the elegance of a colonial drawing rooms while allowing the ever-present bush to loom at its edges, a constant reminder of the untamed and the unknown. The juxtaposition of civilisation and wilderness is beautifully rendered, culminating in the unsettling presence of the Bunyip — a creature of fable that here becomes a potent metaphor for guilt, fear, and the shadows of the empire.

 

Bunyip Barons
Bunyip Barons
Bunyip Barons

 

Just as the Bunyip of legend lures the unsuspecting into murky waters, the Coy family — the so-called “Bunyip Barons” — draw Louisa into their world of opulence and apparent generosity. Yet beneath their polished manners and glittering soirées lies a secret as chilling as it is cruel. Through an encounter with an escaped convict, Louisa uncovers the truth: the Coy family’s prosperity rests upon the brutal exploitation of their convict servants. These men and women, forced into endless servitude within the mansion’s walls, are kept from freedom through falsified records, extended sentences, and coercion. The revelation transforms the story from polite social observation into a powerful indictment of hypocrisy and greed, with Louisa forced to confront her own complicity in a society built on injustice.

Writer-director Timothy Smith’s script is rich with historical resonance yet never weighed down by it. His deft blend of realism and myth creates a compelling moral fable that probes at the fine line between power and corruption, civility and cruelty.

The performances are uniformly strong. John Brown imbues the Coy family’s butler with quiet dignity and a deep, unspoken sorrow, while Bernadette Hunter’s portrayal of the maid is spirited and heartfelt, her warmth cutting through the play’s darker tones. Their shared scenes offer the play’s emotional core, and the final revelations of their own “crimes” lend the production a moving sense of injustice and endurance.

By its conclusion, Bunyip Barons leaves the audience confronting an uncomfortable truth — that the myths we tell, like the Bunyip’s shadow in the reeds, often conceal the real monsters among us. This is a mature, meticulously realised piece of theatre: visually arresting, intellectually engaging, and emotionally resonant.

To book tickets to Bunyip Barons, please visit https://upstageproductionssydney.my.canva.site/.

Photographer: Clare T Photography

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Naturism – A Hilarious Exposé

Naturism

Naturism Rating

★★★★★

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5

Griffin Theatre, in association with Sydney Theatre Company, bares all in the debut production of Naturism. Naturism presents a fabulously entertaining script written by Ang Collins, and expertly directed by Declan Greene and Lily Hayman. Naturism is packed with witty dialogue and hilarious one-liners and the show is guaranteed to leave you in stitches. Although the play has serious undertones regarding climate emissions, phone addiction and Australia’s brutal relationship with devastating bushfires, Ang Collins has successfully raised awareness and discussions in a comedic lighthearted manner. It seems nudity can surprisingly be an engaging way of raising important issues- who would have guessed!

The set creatively represented the Australian rainforest with leaves strewn about in a semicircle fashion, mirroring the arched backdrop of three dimensional trees. A rainforest boardwalk doubled effectively as a small stage and its demise in the fire scene was spectacularly executed. The props were effectively utilised, in particular, the outrageous fugly hats, which when placed on top of a naked body, amplified their absurdity and hilarity. As previously indicated, the costumes were mostly very…minimal. However the whip bird and the honey bee costumes were absolutely dazzling.

A cosy cast of five delivered a highly polished performance, showcasing their professional standards throughout. The story begins with three GenX naturists, Sid, (Nicholas Brown), Ray (Glen Hazeldine) and Helen (Hannah Waterman) who are living communally in the Australian rainforest abiding by their golden rule book comedically known as ‘The Thingy.’ Life for these three society castaways had been smooth sailing for decades until phone-obsessed, Tiktok influencer, Evangeline, played by Camila Ponte Alvarez, intrudes upon their serenity and upheaves their simple lives. Just as the naturist group begins to accept Evangeline, in strolls highly indulged Adam (Fraser Morrison) who brings further chaos to the peaceful group.

 

Naturism
Naturism
Naturism

 

The vulnerability the actors display is commendable and pays off exceptionally as it not only solidifies the content but it is cohesive to the script’s elements at large. This dynamic cast all showcased exceptional comedic skill and rightfully deserved the standing ovation and accolades of applause and cheers. I have not witnessed such abundance of laughter during any other performance I have seen. This is credited to the actor’s creative delivery and expertise in conjunction with fabulously humorous dialogue. Hannah Waterman’s portrayal of intoxicated Helen and her journey of enlightenment is side-splitting comedy at its finest.

The lighting was meticulously timed to emphasise hilarious sudden spotlights on the characters. The dramatic opening spotlight poses meticulously timed with blackouts, had the audience hooked from the beginning. The articulation of the lighting during the fire scene was also spectacularly effective, burning bright red accompanied by thick smouldering dry ice. The sound effects of burning and cracking trees which accompanied this impactful scene were compelling and impactful.

Naturism is a solid five-star performance in every aspect. It is a one of a kind production that will indeed reveal more to the audience than any other performance they have likely encountered. There is nothing flaccid about this impactful, poignant, script which the sensationally talented cast gets to the naked truth of.

To book tickets to Naturism , please visit https://griffintheatre.com.au/whats-on/naturism/.

Photographer: Brett Boardman

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ATC’s ‘Gaslight’: Artful, Suspenseful and Entertaining

Gaslight

Gaslight Rating

★★★★★

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8

Arts Theatre Cronulla have had a fantastic year of shows; the ambition and attention to detail in their productions are always notable. Patrick Hamilton’s ‘Gaslight’, playing until November 29, is a prime example of this – a tight and talented cast, great set design and an audience kept enthralled throughout. The choice of this particular show is a tribute to James Bruce, a founding member of the Arts Theatre who contributed as a set designer and builder, lighting designer and director over the course of 61 years. The director has said that Bruce loved this play, and in this production you can see why.

‘Gaslight’ is a thriller from the 1930’s, the story of a woman who thinks she is going mad like her mother before her. Her husband is reaching the end of his tether, until a visitor interrupts the balance of their little world. This production has moments that made the audience genuinely gasp out loud. Michael Gooley both acts and directs, and the directing choices make the tension in the room palpable. Gooley chose to build the set according to James Bruce’s design, and it works excellently; the flickering gaslights, the period-accurate furniture and other set details function almost like an escape room puzzle, drawing the audience to notice small changes, our eyes drawn to everything from paintings to desk drawers.

Margareta Moir is a revelation in the role of Bella Manningham. Bella is a character under serious stress, and the physicality of how Moir portrays this woman in crisis is at times frighteningly real; her storytelling goes beyond the dialogue. Bella’s arc, in Moir’s hands, becomes the emotional thread that holds the story together, even as various mysteries unfold around her.

 

Gaslight

 

Gary Clark, playing Bella’s husband Jack Manningham, makes excellent choices in this show. Jack’s tone is generally light and unaffected, which makes the moments where that demeanour shifts very striking. There is a moment where he enters at the end of the first act that was one of the dramatic high points of the show, with his stillness and raw energy drawing gasps. His performance builds a lot of the show’s tension, and his choices with how to present Jack’s light and shade are a thrill.

Ann Sayegh and Suzie Stipanovic play Elizabeth and Nancy, the two maids of the house who orbit one another and interact with their bosses in very different ways. The choices their characters make shape how you perceive both Jack and Bella, and both Sayegh and Stipanovic create depth and reveal power dynamics within the world of the house, underscoring the claustrophobia that Bella clearly feels.

Michael Gooley plays a blithe and unafraid Inspector Rough, a visitor to the home who turns Bella’s world upside down. The tone of the whole show shifts when he enters, and Gooley’s Rough remains a wildcard throughout, reacting in unpredictable ways to the unfolding revelations.

ATC continues, with this show, their pattern of a strong cast telling a story with conviction and wit, with good direction making for a really enjoyable (if nerve-wracking) night of theatre. From Craig Oberg’s lighting design to the smooth stage-management by Michele Potter and Dahyla Oweichi, this is amateur theatre at its strongest: entertaining and artful. Jim Bruce would be proud.

To book tickets to Gaslight, please visit https://www.artstheatrecronulla.com.au/gaslight.

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