Show Up! And Be Entertained By Surprise Acts

Show Up!

Show Up! Rating

★★★★★

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“Show Up!” is a variety-style of entertainment show, which reminded me of a nostalgic live taping which was then beamed into our living rooms via the television. The act would be filmed, with the camera now and again panning to the audience to see their reactions, and then back to the act. When that finished, an interview with the performer would happen. Then in the next episode, we would see different performers and acts, introduced by the host. “Show Up!” may have been intended to fill the live event space with their format similar to this, and had been billed as having “great performers, great stories, great surprises and a room filled with people willing to embrace the unexpected”. It is a monthly event, with different guests from across music, theatre, comedy, cabaret, circus and dance disciplines.

Created, produced, and hosted by versatile Australian entertainer Nick Hardcastle, this show offers a platform for both established and emerging artists to perform. One of its original features is the element of surprise, as the audience never knows in advance which act they will see. This format is especially appealing to those who enjoy spontaneity and discovering new talent, as well as fans who might be delighted to catch a performance by one of their favourite Australian artists or comedians. An interview with each performer after their acts adds another layer to the show.

I attended the first show at The Darling Quarter Theatre in Sydney on the 19 October. “Show Up!”featured performances from the “Dance Nikki Webster” dance studio, a burlesque act, a comedic musical act, solo songs and a strong and heartfelt 20th Anniversary tribute to one of Australia’s well known and loved musicals, “Priscilla, Queen of the Desert”. Plus of course, there were a couple of acts from iconic drag performers.

Being both a comedy and musical enthusiast, it came as no surprise that one act particularly appealed to me.The satirical boy band “Fuccbois” delivered a memorable and comedic performance that perfectly captured the essence of the archetypal “cool guys.” Dressed in oversized shirts, backward caps, and sporting penciled-in moustaches alongside shaded penciled -in stubble, these female artists presented a distinct and exaggerated image. Bursting onto the stage in coordinated track pants emblazoned with their logo, they sang pop songs in harmony while executing deliberately swaggering dance moves. Their confident, cocky demeanour was amplified by playful flirting and winks directed at the audience. Their infectious energy and original songs (most notable one named The Gaslight Shanty) made their performance thoroughly entertaining and hilarious.

Watching Tony Award nominee Tony Sheldon take the stage was a treat. Best known for his iconic role as Bernadette in “Priscilla Queen of the Desert” across Australia, Toronto, Broadway, and the West End, Sheldon delivered an impressive lip sync performance. Though he appeared without the signature drag costume and makeup of Bernadette, the vibrant presence and charisma of this character shone through. Following the performance, Sheldon engaged in an informal and insightful conversation with the host, offering the audience a rare glimpse behind the curtain.

 

Andrew Broadbent, a seasoned Australian performer with a rich history in musical theatre, captivated me with his rendition of “I’ve Grown Accustomed to Her Face” from the Broadway classic “My Fair Lady”. His flawless English accent and nuanced mannerisms vividly brought to life the character of Professor Henry Higgins, transporting me to England and perfectly conveying Higgins’ deep, sentimental longing for Eliza Doolittle after her departure.

Another standout act was from duo Rhea Robertson and James Vidigal performing a burlesque act. The sexy, sultry undertones of Robertson’s voice, combined with confident and strong exotic dancer Vidigal, melded together to create an incredible multimedia performance.

Before the intermission, Hardcastle invited audience members who felt confident to come forward and showcase their entertainment talents in a “Show Off” segment. If you would like to have ‘a minute in the sun’ go along and register! Well done to audience participants Susan, Alex, Joanne and Patrick – it takes confidence to perform onstage in front of strangers if it’s not your profession, and kudos to Hardcastle for giving them that opportunity.

The dancers from the “Dance Nikki Webster” studio looked to be students of school age. They had bright costumes and danced with high energy and even higher kicks. One dancer incorporated some backflips into their routine, to the audience’s delight. While they danced, a video of their routine played simultaneously in the background. However, the slight mismatch between the live performance and the video, created a somewhat jarring effect.

The show concluded with a tribute to “Priscilla Queen of the Desert”. A video of past performers from all over the world was played on screen, recounting their experiences during their run with the show over the years. Afterward, a few past cast and crew members, some of who were in the audience, were invited onto the stage to sing “We Belong” altogether. It was a touching finale and created an insight into the bonds that form inside the entertainment industry.

If you don’t mind not knowing who will be performing onstage, “Show Up!” at The Darling Quarter Theatre may be for you!

“Show Up!” was 2 hours, with a 20 minute interval.
Tickets: www.showuplive.com.au/tickets
Darling Quarter Theatre, Sydney

To book tickets to Show Up!, please visit https://showuplive.com.au/.

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Britten’s War Requiem

Britten's War Requiem

Britten’s War Requiem Rating

★★★★★

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Benjamin Britten’s War Requiem, Op. 66, is a full-on choral and orchestral composition finished in 1962 with shades of Philip Glass chords and dissonance. Originally performed for the rebuilt Coventry Cathedral that had been destroyed in World War II, the piece is scored for a double orchestra, two choirs, organ and just about everything else. For example, there were eight percussionists. It was going to produce a wall of sound.

Along with the traditional Latin text, the anguished poems of Wilfred Owen, written during World War I, offered a dramatic and dark mood about the futility of war and the loss of human lives. Owen’s poems were banned during the conflict as they were anti-war and clearly revealed the reality of the horror and futility of those in the trenches. Sadly, he died at 25 years old in battle a week before the Armistice.

Brett Weymark skilfully conducted the Sydney Philharmonia Festival chorus, Sydney Youth Orchestra and Conservatorium High School choristers. The orchestra was magnificent with brass sounding out as the bray of battle along with clashes of cymbals, drums and gongs as the string players struck chords that represented the tragedy of what was happening.

 

The choir, all 300 of them rose to the occasion quietly chanting at the start and producing almost a howl as the battle raged. The children’s choir stood at the back of the concert hall and sang like a choir of angels as if welcoming the dying soldiers. The final piece culminated in the soloists joining to ‘let me sleep in peace’ almost imploring the audience to do so. Then the conductor stood in silence for twenty seconds as if at the last post.

The soloists, tenor Kyle Stegall, and baritone Jeremy Kleeman, offered Owen’s poems. Stegall’s beautiful lyrical voice soared as he sang about the soldiers’ fears and observations of the horror of war such as, ‘What passing bells for these who die as cattle?’. Kleeman’s clear baritone beseeched the audience to realise, ‘I am the enemy you killed, my friend’. The only disappointment was with such a strong orchestral sound, Owen’s poignant words were often lost in the wall of sound.

Soprano, Eva Kong, strangely placed behind the orchestra at the back with the chorus, sang like an angel, interpreting the Latin mass text valiantly and beautifully. It may have been easier for her and the audience if she were with the other soloists at the front.

It isn’t an easy piece as there are no memorable melodies. As we approach Remembrance Day, it is a reminder not to celebrate war but to honour those forced to participate. It was a memorable concert for all and the audience responded with resounding applause. We were left remembering the final chant of, ‘Let Me Sleep in Peace.’

To see Sydney Philharmonia Choirs next concerts, visit https://www.sydneyphilharmonia.com.au/.

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Catch As Catch Can

Catch as Catch Can

Catch as Catch Can Rating

★★★★★

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The title ‘Catch as Catch Can’ carries an evocative historical resonance. Originally a style of submission wrestling that made its way into the early modern Olympic Games, “catch-as-catch-can” was defined by a stark absence of restrictive rules where almost any hold, tactic, or maneuver was permissible to pin down an opponent. Idiomatically, it has come to mean achieving an outcome by any means possible.

In Mia Chung’s play, presented by Empress Theatre and directed with sharp intelligence by Anna Houston, this brutal ethos becomes a haunting metaphor for domestic survival. Here, two generations grapple for control, stability, and love by any means possible. The younger generation—Tim, Lon, and Robbie—yearn desperately for an escape, yet every path, be it a new job, marriage, or parenthood, feels like a trap. To survive, they resort to hiding relationships, feigning composure, and manufacturing facades. Meanwhile, their parents, Theresa and Roberta, yearn for the exact opposite: despite wanting to give their children freedom, they struggle to let go and stop interfering, by leveraging guilt, emotional manipulation, and heavy-handed family role pressure to keep their offspring tethered to the past.

Set within two working-class American families of Italian and Irish origin, ‘Catch as Catch Can’ operates beneath a surface of everyday conversations and occasional flashes of dark, witty humor. Yet beneath those conversational surface ripples lies a complex web of family tensions, unspoken expectations, and deep emotional wounds.

 

When Tim returns home, the quiet rhythm of his mother’s and neighbors’ lives is shattered. His presence drags old, buried tensions back into the light, culminating in an emotional breakdown that alters the entire atmosphere of the play. Suddenly, the fragility beneath their ordinary routines becomes impossible to ignore, leaving the audience to sit with the uncomfortable realities of family life and the lasting effects of trauma.

While Chung’s script provides a fascinating psychological jigsaw puzzle, the undisputed crown of this production belongs to its virtuoso ensemble. Three actors play six characters, seamlessly crossing boundaries of age and gender without relying on full costume changes or gimmicky transformations. Robin McLeavy plays both Lon and Daniela Lavecchia, David Soncin plays Roberta Lavecchia and Robbie, and Andre de Vanny plays Tim Phelan and his mother, Theresa.

To watch these three deliver a performance of such extraordinary precision, physical control, and emotional depth is nothing short of thrilling. Without costume changes to rely on, the transformations happen entirely through posture, vocal timbre, rhythm, and intention. One moment an actor embodies the rigid, watchful stance of an aging parent; a beat later, with a subtle shift in weight or breath, they become an anxious adult child navigating a fraught conversation.

Robin McLeavy is particularly outstanding, conveying profound emotional pain and the shock of traumatic experiences with an intensity and vulnerability that are difficult to look away from. There is something raw and deeply affecting in her performance that makes her character’s distress feel painfully real. David Soncin and Andre de Vanny match her with brilliant versatility, sustaining the shifting world of the play and keeping the emotional pressure cooker boiling.

Dark, complex, and disturbing—yet illuminated by moments of humor— ‘Catch as Catch Can’ is a demanding and deeply rewarding piece of theatre.

To book tickets to Catch as Catch Can, please visit https://www.oldfitztheatre.com.au/catch-as-catch-can.

Photographer: Phil Erbacher

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Do We Carry On As Normal, Live In Up Or Party Like There’s No Tomorrow?

Cruise

Cruise Rating

★★★★★

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Cruise by Jack Holden
Directed by Sean Landis
Produced Maybelline San Juan
Movement Director Jeremy Lloyd
Starring Fraser Morrison

Cruise is an intergenerational monologue spanning four decades and over 20 characters, celebrating queer nightlife and paying tribute to a generation lost to the AIDS crisis.

Our two central story characters, one a young twink volunteering at an LGBTQIA+ helpline call centre just months before the Covid-19 Pandemic and Michael Spencer, the caller to the helpline. The young twink is left alone one Saturday and Michael calls on a particular anniversary that meaningful to him.

The plot is backlit by the clubs of London’s Soho in the 19802, Michael is living with HIV in 1984, he’s told by doctors that he has just four years to live. The show questions how to survive and what to do when given this type of information. Do we carry on as normal, live in up or party like there’s no tomorrow? And if you survive, how can he go on living?

This is a beautiful but heart wrenching play, filled with many fabulous characters to help us breath and have lighter moments in some of the darkest times during the trenches of the AIDS epidemic. Some of my favourite characters were the older ladies depicted in the play.

 

Fraser Morrison has a Mount Everest to climb and does so with great energy and enthusiasm. It’s an emotional, vocal and physical roll coaster.

The lighting by Tom Hicks is stunning and makes stepping into so many different settings a lot easier with the very limited set that is used.

I did find some of the accents off putting, as I did not know what part of the UK they were from or they were more Australian than British. Having lived in the UK a long time and seen most of the country, it stands out like a sore thumb when they waiver or are a strange amalgamation of several at once. This could have been opening night nerves.

The play runs nearly two hours straight through. I personally felt there should have been an intermission and there are two cliffhanger points where it could have clearly happened. I think this would have let the audience breath a bit more.

Take tissues with you and use the bathroom before the show starts. I think it’s definitely worth seeing.

Cruise runs at the Seymour Centre until October 31st.

To book tickets to Cruise, please visit https://www.seymourcentre.com/event/cruise/.

Photographer: Abraham de Souza

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