If you haven’t read the book, and it is a true story, you have missed out but the second best thing is seeing the play. It captures post war Britain still recovering, short on food, living on coupons and making sense of the previous world war. As the play develops we are taken through Englandâs important historical moments including Queen Elizabethâs coronation and celebration.
On the other side of the world, in fast-paced New York, a dollar-poor screen writer becomes a beloved contact to first one and then all in a small London vintage bookshop. It is a joy to hear such witty retorts but also to witness the gentle relationship between brash New York and formal London both in changing times for their countries and lives. Letters are exchanged as books are requested and as years go by, the audience witnesses changes in lifestyle and relationships from a formal correspondence to a warm and witty friendship. The audience audibly responded with laughter and sadness as the letters were read and reacted to.
The set was wonderfully lit in warm tones with the bookshop and New York apartment juxtaposed to represent the changing lives of both cities and characters. The set and costume designer had sourced and found genuine or reproduction clothes, jewellery, hats and even seamed stockings that set the era and style so authentically. Floor to ceiling shelves of books enhanced the feeling of being in a bookshop whilst the New York apartment was decorated in a more modern style. There was an intimate connection between the audience and actors being in the round giving the feeling of entering each world.
All actors were believable but the two main actors representing the writer, Helene Hanff and Frank Doel, the bookstore manager, captured the audience’s attention from the start. Helene presented a genuine New York strong accent and for those who have lived in New York, the body language, phrases and pace of delivery rang true. Frank wore the British suits and accent and politeness revealing a deeper side to him as their friendship evolved. The cameo actors were true to their time and the sense of a ‘family’ of colleagues revealed itself as each character interacted with Heleneâs letters. Their non-verbal body language was at times funny and at other times, poignant but totally believable. The audience cared for each character and wanted to know about their dreams and aspirations. Knowing that the book is true made us want to find out what happened to each person in the future.
The play showed how well-written dialogue taken from genuine letters creates an atmosphere and audience connection with no clever props or actions required. It was the opening night and the actors and director were rewarded by a standing ovation and loud applause.
Ordinary Days, produced by Bold & Blunt Creative and performed at Flight Path Theatre, takes us on a journey to New York in the early 2000s. An off-Broadway success, the sung-through musical follows the stories of four characters working through the challenges of everyday life. The story touches on art, taking chances, dreaming big, building relationships and recovering after trauma. There is nothing too complex in the plot but there is joy to be found in interrogating smaller moments not usually portrayed on stage.
There were two main storylines; one was romantic and the other was about friendship, I loved this. It is beautiful to see a platonic relationship platformed and I found that Warren (played by Ethan Bourke) and Deb (played by Producer Chantal Elyse) had a lot of chemistry. The other two characters were a couple grappling with the difficulties that come with moving in together and taking the next steps â Claire (played by Associate Producer Jordan Berry) and Jason (played by Lachlan Ceravolo).
I was lucky enough to see the opening night show and he performances from the four cast members were very earnest. As the show went on, I felt the cast become more confident, and the characters more vulnerable. Bourke was a highlight for me; he was very charismatic and made the audience want to get to know him. Ceravolo gave us a very convincing, though at times, one-sided love story. Both Elyse and Berry had wonderful voices. I especially loved the duets, group numbers and the songs where the passion and frustration of the characters peeked through â this felt distinctly human!
The pianist was a highlight, tucked in the corner of the stage, playing for the full 90 minutes – no intermission. I enjoyed the music a lot and was surprised with how immersive the singing was with only the piano. Songs seamlessly connected as scenes changed, and at times I forgot that we had live accompaniment. Congratulations to the Musical Director â Joseph OâReilly.
The set was simple but effective with the New York skyline created out of posters and flyers, and just a couple of desks. Both lighting and sound were used well to signpost the mood changes, which was essential with the pared back set design. The cast used the space masterfully, popping out from within the audience and the theatre door which aided the audience to feel engaged and part of the story. There were laughs at the funny quips and audible gasps when Warren tripped, we felt invested in Deb finding her thesis and Claire having a personal breakthrough.
Joshua Robson Productions and their team behind the sell-out success of The Producers returns to conjure up another deliciously dark delight, bringing the Tony AwardÂź-nominated global smash The Addams Family to Hayes Theatre Co from 11 July. Tickets are on sale now via www.hayestheatre.com.au.
At the heart of this gloriously gothic household stands Morticia Addams, embodied by double Helpmann Awardânominated triple threat Erika Heynatz (Legally Blonde, Menopause the Musical), whose elegance is as sharp as her wit. Opposite her, the ardently devoted Gomez Addams finds his match in acclaimed Filipino-Australian performer Marcus Rivera (Miss Saigon, City of Angels), promising a romance that burns as brightly as it does bizarrely. Emerging from the shadows, Wednesday Addamsâthe ultimate princess of darknessâwill be brought chillingly to life by recent NIDA graduate Jenny Guigayoma (Nine, Peter Pan). Meanwhile, her delightfully devious younger brother Pugsley takes mischievous form in Georgia Oom (Werkaholics, Footloose), whose penchant for chaos keeps the household on edge. Hovering somewhere between the strange and the sublime, Uncle Fester will be ignited by the electrifying Evan Lever (The Normal Heart, Murielâs Wedding), guiding the story with peculiar charm. Adding fuel to the family fire, Deborah Galanos (The Boomkak Panto, Stop Girl) unleashes her comic prowess as the unapologetically anarchic Grandmama. Toweringâboth in stature and presenceâElliot Aitken makes his professional debut as the ever-loyal, ever-lurking Lurch.
In a delicious twist of fate, Teagan Wouters (Bonnie & Clyde, The Wedding Singer), who originated the role of Wednesday in the original Australian production, returns to the Addams universe as Alice Beinekeâa woman on the brink of polite society collapse. Her tightly wound husband Mal Beineke will be played by Rory OâKeeffe (HMS Pinafore, Playing Beatie Bow), while their seemingly ânormalâ son Lucasâharbouring a secret of his ownâcomes to life through First Nations performer Alexander Tye (Once on This Island, Footloose The Musical). Completing this cryptic clan are the Addams ancestors, rising from beyond in the forms of Mae Li Cowell, Nathan Fernandez, Jayden Prelc and Paloma Renouf, with Kayla Ingle-Olson and Joey Phyland lurking in the wings as swings.
When Wednesday Addams, the ultimate gothic outsider, falls for a perfectly ânormalâ boy, everything the Addams family holds dear is turned upside down. As the two families meet for one fateful evening, secrets are revealed, boundaries are tested, and chaos is delightfully unleashed. With an extraordinary original score and a story to die for, The Addams Family promises a wickedly entertaining night for audiences of all persuasions.
Directed by Julia Robertson (The Producers, Metropolis), with musical supervision by Zara Stanton (Dear Evan Hansen, In The Heights) and choreography by Shannon Burns (Gutenberg! The Musical, The Producers), this bold new production will push boundaries and breathe new (after)life into a beloved classic.
Director Julia Robertson said “Our version of The Addams Family will dive headfirst into why these characters have captivated us for decades, celebrating their boundless passion for life (and death), their wildly creative and expressive ways of communicating, and their fearless embrace of all things unique and darkly fascinating. Weâre allowing the subconscious to take centre stage as emotion overrides logic and the ordinary transforms into something poetic, playful, and deeply human. The Addams donât just live outside societal norms, they inhabit a reality entirely of their own making, shaped by ritual, instinct, and imagination. Inspired by the original artist, Charles Addams himself, our production will lean into striking composition; stylised, surprising, yet unmistakably Addams!”
âI am so excited to unveil this extraordinary cast; an honest, dark, deliciously funny, and fiercely talented ensemble of storytellers ready to revel in the weird and wonderful world of The Addams Family. Each performer brings a thrilling breadth of experience and a bold individuality to these iconic roles, infusing them with fresh energy, unexpected nuance, and their own wickedly delightful flair. Audiences are in for something truly special!â
The unsettlingly enchanting musical comedy from Marshall Brickman and Rick Elice, writers of the multi award-winning hit musical Jersey Boys, with music and lyrics by Andrew Lippa, will haunt you in the most delightfully spooky way.
THE ADDAMS FAMILY Producer Joshua Robson Productions (JRP) Director Julia Robertson Music Supervisor Zara Stanton Choreographer Shannon Burns Music Director Alexander Gaal Assistant Director/Choreographer Grace Stamnas Production Designer Dann Barber Associate Production Designer Meg Anderson Lighting Designer Jasmine Rizk Sound Designer Chaii Ki Chapman
SEASON DETAILS Venue: Hayes Theatre Co, 19 Greenknowe Ave, Potts Point Season: 11 July â 9 August Times: Tues 6.30pm, Wed-Sat 7.30pm, Thurs 1pm, Sat 2pm & Sunday 1pm Price: Preview tickets from $85, In season prices Adult $95, Concession $89, Groups/Previews from $85 Bookings: www.hayestheatre.com.au | (02) 8065 7337
BIOGRAPHIES Erika Heynatz (she/her) â Morticia Addams Marcus Rivera (he/him) â Gomez Addams Jenny Guigayoma (she/her) â Wednesday Addams Georgia Oom (she/her) â Pugsley Addams Evan Lever (he/him) â Uncle Fester Deb Galanos (she/her) â Grandmama Elliot Aitken (he/him) â Lurch/Ancestor Alexander Tye (he/him) â Lucas Beineke Teagan Wouters (she/her) â Alice Beineke Rory OâKeeffe (he/him) â Mal Beineke
The Bubbles Festival Melbourne: A celebration of all things sparkling!
Natalie Pickett founded The Bubbles Review 10 years ago, when her first blog educated those who thought Moet was spoken like the end of the word, âballetâ, with a silent T, when really, itâs pronounced âMo-wett.â Natalie should know. When working as a tour guide in Europe, on a guided trip to MoĂ«t et Chandon, she confirmed this exact fact.
Natalieâs âBubbles Reviewersâ Clubâ offers members monthly rewards, tasting technique masterclasses and more discoveries and invitations via www.thebubblesreview.com
I met some of her club members on Saturday, 2nd May, for Bubbles Festival Melbourne, at Riverâs Edge Events in the World Trades Centre â in a room with a stunning view of the Skyline Wheel and Polly Woodside. Holding our complimentary Riedel sparkling glasses (included in our tickets), we were all thirsty to begin when Natalie welcomed our group and spoke about some important terms to remember before sampling the bubbles on offer. She reminded everyone to hold their glass by the stem, as best to view the bubbles in the middle. We were advised to enjoy the experience of each sparkling with each of our five senses; even holding the glass to our ears – as though listening to a seashell on the beach – and to take in the scent with our noses, as far as theyâll go into the glass before tasting.
âBubbles â Just like a hug in a glassâ and âABC = Always Bring Champagneâ slogans called to us from TV screens around the room. After this, we would visit all the Exhibitor tables to indulge in the exquisite selection.
Ian was the friendly host from Clover Hill. He poured my first tasting with CLOVER HILL TASMANIA EXCEPTIONELLE MULTI-VINTAGE, (59% Chardonnay, 35% Pinot Noir, 6% Pinot Meunier) – a light straw/green hue in the glass, vibrant citrus and stone fruits on the nose and crisp acidity on the palette.
My second tasting was the CLOVER HILL TASMANIA ROSĂ MULTI-VINTAGE (66% Chardonnay, 29% Pinot Noir, 5% Pinot Meunier) with fresh vibrant strawberry notes upfront on the nose. The palate was layered and creamy with red forest fruits, to a balanced, long finish. This one was sweeter than the first and a little too perfumed for my taste – still a lovely sparkling.
My third taste was the CLOVER HILL BLANC DE BLANCS MULTI-VINTAGE â Tasmania with 100% Chardonnay. This one reminded me a tad of the lovely Billiecart-Salmon Blanc de Blancs Grand Cru NV from France. It too, is characterized by aromas of citrus, white peach, and brioche with a creamy texture.
Tasmanian cool-climate sparkling wines are dominating at the moment, having taken out all the trophies at the 2025 Australian Sparkling Wine Show and Clover Hill is no exception, having been recognised by The Real Review as one of the best producers in the country. They are consistently ranked among Australia’s top producers with a 5-star Halliday rating.
Ian had a fourth offer in CLOVER HILL ROSĂ DâASSEMBLAGE MULTI-VINTAGE (63% Chardonnay, 29% Pinot Noir, 8% Pinot Meunier), which I didnât get to sample as I felt drawn to the French table while there was a lull in the crowd.
I met Jean Paul at the Philippe Fourrier table for a quick chat. Since 1847, this family Champagne house located in Baroville, is anchored in an exceptional terroir, the CĂŽte des Bar, in the south of Champagne appellation area.
JPâs second French pour was LOUIS PERDRIER FRENCH BRUT (NV) â Bordeaux â France (100% Chardonnay), an exceptional French Sparkling. Deliciously toasty notes melt into the scent of golden apples. Gentle and harmonious on the palate with some richness tempering the citrus finish. For me, this was the best sparkling of the day.
The third French pour was CHAMPAGNE PHILIPPE FOURRIER â PINOT MEUNIER BRUT (NV) â Champagne, France (100% Pinot Meunier), with a beautiful pale-yellow hue and fine bubbles bright in the glass. The nose offered fresh red fruit aromas of subtle blackberry, hints of peach and plum. This one seemed a tad light to me after the Brut.
I tried the SUTHERLAND ESTATE â 2025 SPARKLING ROSĂ (with 100% hand-picked Pinot Noir). Whole bunches of Pinot are harvested from the vineyard and come into the winery and straight into the press immediately leading to the gorgeous pale salmon colour. The aromas are bright and enticing with rose petal, strawberry and perfume. On the palate were strawberries and cream. A delightful summerâs drink, but for the last glass of the day, I had to return for one last taste of the Sparkling Temperanillo.
Illustrator, Susan Kerian, who some recognised from her work with retailer, âBlue Illusionâ, returned to showcase her original illustrations – perfect for âEmily In Parisâ fans and Francophiles.
All sparkling wines and Susanâs artwork could be purchased on the day so, I happily departed with my order for delivery of four of the LOUIS PERDRIER FRENCH BRUT (NV) from Bordeaux, two of the CHAMPAGNE PHILIPPE FOURRIER â PINOT MEUNIER BRUT (NV) â from Champagne in France and six of the SUTHERLAND ESTATE â 2023 SPARKLING TEMPRANILLO from the Yarra Valley, because according to F. Scott Fitzgerald, “Too much of anything is bad, but too much Champagne is just right.” Well, thatâs my excuse and Iâm sticking to it!
All of the exhibitors offered great deals for purchasing on the day. Iâve never understood why tastings sometimes donât allow that, but at Bubbles Festival, you could take the wine with you on the day, or get it delivered later, which was ideal. $5 from each ticket went to the Sacred Heart Mission, St Kilda. Natalie chooses a different charity to donate to in each of her stateâs events.
It was a sunny 25degree day in Melbourne and I tasted some new and exciting Sparklings and Champagnes, met like-minded and vivacious souls, feeling the fresh bubble of life, therefore, I thoroughly recommend attending the Bubbles Festival.
Here are the other statesâ Bubbles Festivals, coming soon:
Brisbane â 9 May 2026 – Get your tickets here! Sydney â 22 & 23 May 2026 – Get your tickets here! Adelaide â 6 June 2026 – Get your tickets here! Perth – 20 June 2026 (TBC) – Join waitlist here!
