A Not-To-Be-Missed Storytelling And Music Extravaganza!

Amplified: The Exquisite Rock and Rage of Chrissy Amphlett

Amplified: The Exquisite Rock and Rage of Chrissy Amphlett Rating

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4

Amplified at Belvoir St is Sheridan Harbridge’s exhilarating homage to legendary Australian rock icon and Divinyls frontwoman, Chrissy Amphlett. Written and performed by Harbridge (Prima Facie), directed by the award-winning Sarah Goodes (The Weekend) with musical direction by Glenn Moorhouse (Hedwig and the Angry Inch), Amplified enters the annals of Australian music historiography.

Part biography, part autobiography, part cabaret, part live concert, part tribute, Amplified is electrifying from the moment the band takes their places and Harbridge enters from the audience wearing knee length boots, a black leather mini skirt and a black trench adorned with silver glitter. She immediately owns the stage.

The show opens with Harbridge asking the audience to tap into their own experiences of seeing school-tunic wearing Chrissy on stage. The band then comes in with ‘I’ll Make you Happy’ and the audience responds. Cheers and applause fill the theatre and the energy is palpable. It’s a terrific and uplifting rendition.

Harbridge doesn’t try to imitate the unique and sublimely defiant Chrissy Amphlett, rather she uses music and stories told by Amphlett herself, and those who knew her, to keep the memories alive and, in doing so, evokes a sense of immortality surrounding the singer.

 

 

Amplified tells of Amphlett’s childhood in Geelong and of the circumstances that moulded her into the fierce, feminist, rebellious frontwoman she became.

To those who saw Divinyls on stage in their ‘80s and ‘90s heyday, the experience was unforgettable. Amphlett was unapologetically brash, raucous, overtly sexual and subversive, upending the then Australian music industry dominance of male lead singers. Harbridge showcases Amphlett’s bold stage persona, explores her vulnerabilities, and delves into her long and complicated relationship with Mark McEntee, the band’s co-founder.

This reviewer went to many Divinyls gigs and remembers one in particular at Caringbah Inn in the early 1980s where Amphlett spat on her, which felt like a badge of honour at the time. One never knew what Chrissy might do next!

Like Chrissy, Harbridge teases the audience, but, unlike Chrissy, does so in an unthreatening manner. She takes an unwitting patron’s handbag and empties it on stage; she interacts with the audience, bringing to life the icon’s bad girl persona in all its hilarious brilliance. This is definitely not a production for children.

The stage is backlit by blue lighting with several spotlights centred on Harbridge. The floor seems to be etched in silver swirls and circles emanating around the mic stand like a galaxy of stars, which evokes, in this viewer, the chaos and frenetic energy of Amphlett standing at the centre of her universe.

The four-piece band comprises accomplished musicians Glenn Moorhouse, Ben Cripps, Dave Hatch, and Clarabell Limonta. Their polished execution of songs and divine back-up vocals elevate Harbridge’s storytelling. Harbridge’s vocal range is impressive: from the guttural to falsetto, she doesn’t miss a beat. She uses a recurring motif to tease the audience, which I won’t reveal, have them wanting more and it works to great effect. The background music to Harbridge’s narration is low-key but performative to the story. The tempo walks with each particular narrative then explodes into song.

Sheridan Harbridge is an actor and writer of extraordinary talent. Her comedic timing and ad-libbed moments are things to behold. With Goodes and Moorhouse as collaborators, she has created a wonderful production that surely tugs the nostalgic heartstrings of theatre-goers across Australia.

To book tickets to Amplified: The Exquisite Rock and Rage of Chrissy Amphlett , please visit https://belvoir.com.au/productions/amplified/.

Photographer: Brett Boardman

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Last Two Weeks At The Foundry Theatre For Putting It Together

Feature-Putting It Together

The dazzling celebration of Stephen Sondheim’s greatest work, Putting It Together, has only two more weeks to play at Sydney’s Foundry Theatre. This wonderful show, which garnered four and five stars from critics and huge acclaim from audiences, must close on 15 February. Set at a glamorous cocktail party, the show blends wit, charm and razor-sharp insight as the cast navigate the complexities of love, ambition and desire.

Featuring a seamless revue of Sondheim’s most iconic songs, audiences are taken on a journey through the genius of one of musical theatre’s most influential composers and lyricists, all wrapped within a clever and intimate story set at an all-night, black tie party.

★★★★ “For charm and sophistication this superb show can’t be beaten” – Sydney Morning Herald
★★★★ “Superbly staged and performed” – Limelight
★★★★★ “musically spectacular” – Stagenoise
“Do not miss this!” Broadway World
“A once-in-a-lifetime ensemble, and the performances are genuinely extraordinary” – Sydney Travel Guide

This once-in-a-lifetime event brings together some of Australia’s finest performers – Caroline O’Connor (Chicago, Gypsy, Sweeney Todd), Michael Cormick (The Phantom of the Opera, Beauty & the Beast), Bert LaBonté (Moulin Rouge! The Musical, The Book of Mormon), Nigel Huckle (Miss Saigon, West Side Story) and Stefanie Caccamo (Into The Woods, The Lord of the Rings) – alongside Australia’s finest creative team.

Putting It Together was first performed in Oxford, UK in 1992, directed by Julia McKenzie and produced by Cameron Mackintosh, with a cast led by Diana Rigg and Clive Carter. The original US production in 1993 by the Manhattan Theatre Club featured Christopher Durang, Rachel York and Dame Julie Andrews, making her return to the New York City stage after an absence of more than 30 years. The Broadway production in 1999 starred Carol Burnett, George Hearn, Ruthie Henshall, John Barrowman and Bronson Pinchot. Hearn was nominated for the Tony Award for Best Actor in a Musical. The revue received its West End premiere in 2014 featuring Janie Dee, David Bedella, Damian Humbley, Caroline Sheen and Daniel Crossley.

Don’t miss this extraordinary, once-in-a-lifetime musical event.

www.foundrytheatre.com.au/putting-it-together

PUTTING IT TOGETHER
Words and Music by Stephen Sondheim
Devised by Stephen Sondheim and Julia McKenzie
Starring Caroline O’Connor, Michael Cormick, Bert LaBonté, Nigel Huckle, Stefanie Caccamo

SEASON DETAILS
Venue: Foundry Theatre, Pirrama Road, Pyrmont
Season: To 15 February
Performance Times: Tue-Thurs 7pm, Fri-Sat 7:30pm, Matinees Wed 1pm, Sat 2pm, Sun 1pm & 6pm (performance times vary each week)
Prices: From $69.00 (Transaction fees apply)
Bookings: ticketmaster.com.au or 136 100

 

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The Social Ladder

The Social Ladder

The Social Ladder Rating

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8

At its world premiere, The Social Ladder found an impeccably apt home at the Ensemble Theatre—the country’s longest continuously running professional theatre company—perched in rarified Kirribilli, with Sydney Harbour shimmering outside like an accessory quietly signaling old money. One could hardly imagine a more socially literate setting for a play so exquisitely preoccupied with rank, aspiration, and the fragile choreography of belonging.

Penned by David Williamson AO—Australia’s grand maître of social satire, whose canon includes such drawing-room dissections as Emerald City and Don’s Party—this latest work turns its incisive gaze toward status itself: how it is curated, performed, and so desperately desired. Williamson’s dialogue is once again sharp as cut crystal, producing laughter that curdles almost immediately into recognition.

In an age of relentless social visibility, where curated online selves often eclipse private truths, The Social Ladder feels not merely timely but almost uncomfortably current. The premise is elegantly contained: three couples, six agendas, one dinner party designed as a social audition. At its centre is Katie (Mandy Bishop), a woman of unmistakable ambition and unmistakably non-elite origins. Hailing from resolutely middle-class Engadine, her accent alone threatens to betray her aspirations, yet she is convinced—fervently—that her talents merit elevation.

 

 

Her chosen ladder rung arrives in the form of Sydney power couple Charles (Andrew McFarlane) and Catherine Mallory (Sarah Chadwick), art-collecting, influence-wielding exemplars of cultural capital. A few fleeting schoolyard encounters with Catherine ignite Katie’s belief that proximity might equal access. Thus, the dinner is conceived: not a gathering, but a campaign.

No expense is spared. Catering is outsourced, furniture rented, and even an “artistic masterpiece” hired to telegraph taste. Appearances, after all, are everything. To soften the social calculus, Katie also invites her neighbours—old friends, Ben (Matt Minto), a once-promising film industry figure now professionally becalmed, and Laura (Jo Downing), a dance teacher whose achievements lack the requisite sheen. Their invitation is both olive branch and afterthought.

Naturally, the evening implodes. The food never arrives, the wine order is forgotten, and the borrowed artwork is revealed—mortifyingly—to belong to the very guests meant to be impressed. As façades fracture, civility gives way to desperation, deceit, and the ignominy of cheap wine and takeaway pizza.

The staging is slyly symbolic: three chandeliers ascending in grandeur, empty picture frames lining the walls, furniture beautiful but uncomfortable—an elegant visual shorthand for hollow status and performative taste. Performances across the board are finely tuned, creating the uncanny sensation of eavesdropping on a private catastrophe.

By the final unraveling—replete with secrets, betrayals, humiliations, and small redemptions—the audience is left laughing, wincing, and quietly auditing their own social manoeuvres. One exits the theatre not just entertained, but unsettled, pondering the price paid for a seat at the high-end table—and whether it was ever worth it.

To book tickets to The Social Ladder, please visit https://www.ensemble.com.au/shows/the-social-ladder/.

Photographer: Phil Erbacher

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Red Herrings and Sinister Secrets – Agatha Christie’s The Murder of Roger Ackroyd

The Murder of Roger Ackroyd

The Murder of Roger Ackroyd Rating

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1

Agatha Christie was a prolific author, one of most well-known novelists in history. (In fact, she is considered the third best-selling author of all time, behind William Shakespeare and the Bible) Her 66 detective and 14 short story books have sold over 2 billion copies.

When What’s the Show sent me to review “The Murder of Roger Ackroyd”, I was looking forward to seeing the performance. Adapted by Philip Grecian, directed by Ali Bendall and presented by the Genesian Theatre Company, the play delivered a performance that would make Agatha Christie smile. It was a great choice to have as the first Agatha Christie play in 2026 at their new home in Rozelle.

The Murder of Roger Ackroyd is a play with a large cast. There are fourteen characters played by thirteen people. The first act of the show was dialogue heavy and had me playing catchup with Who’s Who. By the intermission though, I had a grasp on the relationships between the characters. The layout and design of the program was one of the most gorgeous I have seen – well done to the graphic designer. There was a Murder Mystery Bingo page for fun, a list of Possible Suspects and their role, and a Suspects / Motives Evidence Board which helped consolidate the characters for me during the intermission.

The play centres on Dr. James Sheppard (Nathan Moss), a local doctor in the quaint English village of King’s Abbot. He narrates the events surrounding the startling murder of the affluent Roger Ackroyd. A neighbour, known to Dr Sheppard’s sister Caroline (Roslyn Hicks) for throwing marrow over the fence, is the renowned Belgian sleuth Hercule Poirot (Peter David Allison). The famous detective known for his sharp mind and methodical approach becomes entangled in this mystery, even though he is retired. Through clever questioning and careful observation, Poirot works to reveal the real story beneath the surface, interviewing possible suspects and employing his “little grey cells” as he likes to put it, to lead the audience in a suspense-filled classic play.

 

Director Ali Bendall had the daunting task of creating a set with many different locations, and she successfully brought them all to the stage clearly with the use of lighting (Lighting Design by Cian Byrne) props (including a real antique Dictaphone) and variations in using the whole front theatre space. The cast were dynamically moving, including below the stage, in front and to the sides of the audience. The effect of this surprisingly brought the audience close to the action and encompassed us, making us feel a part of the story. Ali was also the Sound Designer and the ominous, dark music during the scene changes added to the whole atmosphere of mystery and threatening going-ons.

The script had some very witty moments throughout the show. Peter shone as bow tie wearing Poirot, the character delivering many lines and play on words which had us laughing. “The game is afeet!” “Hercule Poirot knows!” Roslyn as Caroline, the village gossip, held the audience from the beginning, her cheeky confidence as she bantered with her brother about all the happenings in the village was very funny. She is forgiven when she says, “I don’t pry things out of people!” indignantly, and then proceeds to ask personal questions to another character, indeed prying! John Parker (Peter Hoekstra-Bass) played The Butler who found the murdered Roger Ackroyd. On request from Poirot, his re-enactment with Ackroyd’s niece Flora Ackroyd (Jen Manoogian) was played with great over-enthusiasm, so much so that I thought, “John Parker has just discovered what he wants to do after he finishes his employment as a butler – acting!”

The cast and their British accents were impressive. Combined with Susan Carveth’s costume design, they put just the right emphasis on reeling the audience in and making us wonder who amongst these group of people was responsible for Roger Ackroyd’s death. Particularly during the second act, the red herrings were scattered everywhere, clues were looked for by me, and this became part of the game. It’s typical of an Agatha Christie novel – twisty, sinister secrets revealed slowly, blackmail, with a great ending. I won’t spoil the whodunnit, but when you see this play, (and you definitely should!), look out for the murderer’s pace and delivery – kudos to that actor, and to the whole cast.

The Murder of Roger Ackroyd is playing 16 January – 28 February 2026 at the Genesian Theatre. 2B Gordon Street, Rozelle.
Run Time: 2 hours 30 minutes (including a 20-minute interval)
Tickets: www.genesiantheatre.com.au/events/the-murder-of-roger-ackroyd

To book tickets to The Murder of Roger Ackroyd, please visit https://genesiantheatre.com.au/events/the-murder-of-roger-ackroyd/.

Photographer: Anthony Burns

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